Banita Sandhu set her foot in Bollywood with Shoojit Sircar’s October (2018) wherein she shared the screen space with Varun Dhawan. In her latest film Sardar Udham (2021), directed by Sircar, she plays a deaf and mute girl. The film, which recently premiered on Amazon Prime Video, opened to overwhelming response. It features Vicky Kaushal in the title role of revolutionary Udham Singh.
As the film continues winning audiences’ hearts with its powerful narrative and deft direction, Sandhu has opened about working with director Shoojit Sircar. Talking about the love and appreciation the film is receiving, she says, “It has been incredible. And honestly, it has exceeded my expectations. With Vicky and Shoojit sir, I knew it was going to be a good movie, but they have just taken the film to another level. I really did not expect anything because my role was so small and now to see people touched by it makes me feel so happy and warm inside.”
Sandhu reveals she had to learn Indian sign language to prepare for her role in the film, “When Shoojit sir told me that I would be playing a deaf-and-mute character, the first thing I had to do was learn the Indian Sign Language (ISL). The film was set 100 years ago in Amritsar in Punjab, so I had to localise it to make it look authentic to the region. So, I came down to Amritsar a week before the shoot; I had a great teacher Neelam ji, who works in a special school for the deaf and mute. I was attending the school for a week, observing and interacting with the kids. Later, I also brought them on sets a couple of times, and they got to see my side of things. They also could tell me if I was doing something right or wrong; the challenging part was the learning. But, other than that, Shoojit sir gave me the space to play. There were moments when I interacted with Vicky to improvise, with the cameras capturing the moment. It was a really lovely experience.”
Sharing her experience of working with Sircar again, the actress says, “It is Shoojit Sircar, how do you say no to him? He is a maverick. I am so fortunate because he has been a part of my career. My career started with him. We have such a special bond! I hope this is just the beginning of a long work relationship we will have together. Personally, he has been a mentor and a guiding light to me; he gives a lot of lectures and I listen to some of them (laughs). If I have to put it point blank, working with him makes my job easy. I always know that we are going to make a great film together; that’s a no-brainer. Why would you not work with a director like that?”
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Bollywood horror has gone mainstream: bigger budgets, big stars, family audiences.
Roots: Mahal (1949) to the Ramsay Brothers' cult run of the 1970s–80s.
Modern hits pair folklore with comedy, as seen in Tumbbad, Stree, Munjya, and now Thamma & Maa.
Technical leap: prosthetics and CGI have "gone to the next level"; budgets now reach mainstream scale.
Remember when Bollywood horror meant creaky doors in a haunted haveli and a woman in a white sari? Forget it. We are in an era where a ghost's main ambition is not revenge, but finding a wife, where ancient mythology collides with suburban kitchens, and a mother's love can literally summon a goddess. The genre has exploded into the mainstream, and clearly everyone is buying a ticket.
The horror revolution: How Bollywood turned ghosts, goddesses, and gore into gold Instagram/thammamovie/netflix_in/maddockfilms
Where did this all begin?
The lineage is long. Kamal Amrohi's Mahal (1949), a chilly, melodramatic original, is often cited as Hindi horror's starting point. The Ramsay Brothers then carried the torch through the 1970s and 80s, churning out roughly 30 low-budget creature features that made haunted havelis a cult staple. Their old formula was simple: lurid gore, sex, and cheap shocks because "blood and sex pulled crowds."
As Deepak Ramsay puts it, "There are new stories, fresh talent, and all of this is leading to a resurgence. Films that were once niche are turning out to be blockbusters."
Kamal Amrohi's Mahal Youtube Screengrab
Why is Bollywood horror trending now?
Two things: smarter storytelling and better tech. Filmmakers stopped copying Western ghosts and started mining local myths, as seen in Tumbbad and Stree, and they mixed scares with laughs.
"The moment you get scared, your first reaction after the shock is to laugh," Ram Gopal Varma says, and that laugh is the neat trick, making scares sharable.
Aditya Sarpotdar explains the appeal bluntly: "There is a huge audience wanting to watch such movies. When catering to mass audiences, humour becomes key." His Munjya proved it: "Children pulled their parents to theatres." You cannot get more mainstream than that.
For decades, horror was the B-movie cousin no one wanted to acknowledge. Big stars stayed away, the effects were cheap, and an 'Adults' certificate locked out half the family audience. But not anymore. Maa (June 2025) saw Kajol in a mythic, bloody role that shocked and thrilled the audience. Thamma (Diwali 2025) is being billed as "a bloody love story" with Ayushmann Khurrana and Rashmika Mandanna in a vampire-romance that pairs fangs with dance numbers. Sequels and studio universes hits like Stree 2, Chhorii 2, and lighter fare like The Bhootnii keep the pipeline full.
Deepak Ramsay even points to the tech shift: "From as little as £20,000 to make a horror film, now budgets are closer to £7.2 million."
Veterans say prosthetics and CGI have "gone to the next level," so monsters finally look convincing.
Bollywood horror is having a moment, and it's brilliant
However, the quick, messy truth is the genre still trips; it suffers from a tonal wobble and silly beats, but it is honest. Horror has stopped hiding at midnight and is selling tickets at matinées. Directors joke about the next move. "I would love to see Shah Rukh Khan attempt horror," says Sarpotdar, but the point is clear. What was once pulpy trash has become a lively, profitable stretch of mainstream cinema. It is rough around the edges, loud, sometimes ridiculous, and that is exactly why it is working.
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