Veteran filmmaker Sudhir Mishra, a name synonymous with thought-provoking and socially relevant cinema, is currently in the spotlight for his latest web series Tanaav 2, streaming on Sony Liv. Known for films like Is Raat Ki Subah Nahin, Dharavi, and Hazaaron Khwaishein, Mishra’s work often delves into the complexities of society and politics. In a candid conversation, he discussed his journey in the film industry, the evolution of cinema, and the challenges faced by filmmakers today.
Evolving with the Times
Sudhir Mishra’s career in filmmaking spans over four decades, a period that has seen significant changes in the industry—from single screens to multiplexes and now, the dominance of OTT platforms. When asked how he manages to keep pace with these changes, Mishra attributed his adaptability to his upbringing and education.
“My father was a mathematician, and I grew up with the understanding that nothing is certain—anything can happen at any time,” Mishra explained. “You have to exist in this ever-changing world, where new things keep emerging. Being educated gives you a slight edge, a glimpse into what’s coming. For instance, the advent of AI will transform the world in the next five to ten years. Cinema will also evolve. Now, a boy from Jabalpur or Jamshedpur can make a film and have it screened at Cannes. The world is the best teacher, and one no longer needs to rely on traditional pathways to succeed.”
He likened the challenge of staying relevant in the industry to a deer trying to escape a python’s grasp. “It’s about survival. I want to keep making films. I don’t want to retire. I don’t want to die—not yet, at least,” Mishra said with a laugh. “I want to keep one eye open, like Sanjaya from the Mahabharata, to see what’s happening in the world.”
Shooting in Kashmir: A Unique Experience
Mishra’s Tanaav 2 was shot in the scenic landscapes of Kashmir, a place he found both beautiful and conducive to filming. “I’ve never encountered a location as stunning and stress-free as Kashmir,” he shared. “Even if you face challenges while shooting, a walk in the hills in the evening can melt your worries away. The people are amazing, the food is great, and the place itself is calming.”
Mishra also highlighted the contrast between shooting in Kashmir and other parts of India. “Recently, I shot in Lucknow and Kanpur, my hometown areas, and found more difficulties there compared to Kashmir. The tranquility of Kashmir really helps in focusing on the work.”
The Challenge of Adaptation
Tanaav 2 is an adaptation of the popular Israeli drama Fauda, and Mishra discussed the complexities of adapting an already successful show. “I’m currently working on Summer 77, a completely original series that we’ve written ourselves, based on real events. To be honest, adaptations can sometimes be more challenging. You have to stay within the framework of an existing story while making it resonate with a different audience.”
He added, “In an original piece, you have the freedom to explore any direction you want. With adaptations, there’s some convenience because the plot is already laid out, but it’s also restrictive. You have to balance staying true to the original while making it your own.”
Freedom of Expression in Filmmaking
Mishra’s films often carry a strong socio-political message, and in today’s climate, there is much debate about the limitations on filmmakers. However, Mishra firmly believes in his right to express himself freely.
“For me, it’s not difficult. I’ve always been clear—I’m not here to sensationalize or hurt anyone. I want to tell my stories in my own way, and I’ll continue to do so,” he stated. “This is my country, my father’s country, and I could have left anytime, but I chose to stay. No one can take away my freedom.”
Mishra also touched on the challenges of storytelling in today’s environment. “Telling stories has always been tough, whether now or in the past. But if I give up, who will inspire the next generation? An artist’s job is to navigate through constraints and find a way to express themselves. Sometimes, these very limitations lead to more creative storytelling. Look at Iranian cinema—because they can’t say things directly, they end up saying them more powerfully.”
The Legacy of Hazaaron Khwaishein Aisi
One of Mishra’s most celebrated films, Hazaaron Khwaishein Aisi, is often discussed in the context of a possible sequel. When asked about this, Mishra was candid about the challenges of revisiting a classic.
“If you make a sequel to a film that’s already well-loved, and it doesn’t live up to expectations, it’s not fair to the original,” he said. “I’m not the same person I was when I made that film, and neither are the others involved. Their ambitions, dreams, circumstances have all changed. Unless an extraordinary idea comes to mind, I’d rather preserve the memory of that film than risk tarnishing it with a sequel.”
Mishra’s words reflect a filmmaker who is deeply connected to his work and mindful of his legacy. As he continues to navigate the evolving landscape of cinema, his commitment to storytelling and his belief in the power of expression remain unwavering.
The Future of Cinema in the Age of AI
Looking ahead, Mishra is both excited and cautious about the future of cinema in an era dominated by AI. “The world is moving towards AI, and it’s going to create upheaval in the next few years. Cinema will be redefined, and the way films are made and consumed will change drastically.”
He sees this as both an opportunity and a challenge. “A young filmmaker sitting in a small town will have the tools to create something remarkable and reach a global audience. The barriers are breaking down, and that’s exciting. But it also means that we, as filmmakers, need to stay ahead of the curve, keep learning, and keep adapting.”
For Sudhir Mishra, the journey of filmmaking is far from over. With a career marked by innovation and a deep understanding of societal issues, he continues to be a guiding force in Indian cinema. His ability to adapt to change, while staying true to his roots, makes him a filmmaker to watch in the years to come.
