The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan, as he starred in the two biggest films of that year, and also his career, Deewaar and Sholay.
These blockbusters cemented his position at the top. In between their releases came Mili, Hrishikesh Mukherjee’s decidedly different tearjerker.
Known for his non-starry social dramas, the acclaimed producer-director delivered a message-driven story about Mili (Jaya Bhaduri), a terminally ill but bubbly young woman, and the profound impact she has on those around her – including depressed alcoholic Shekhar, played by Bachchan. The real-life couple headlined a multi-layered film anchored by subtle, deeply emotive performances.
Eastern Eye marks 50 years of the underrated classic on June 20 by presenting the 10 best scenes from this story of hope, anguish and learning how to live.
Enter the grouch: Known for her pranks and cheerful attitude, Mili is taken aback by new neighbour Shekhar’s aloofness. His introduction, during the haunting Badi Sooni Sooni Hai song, shows him as a tormented alcoholic. It establishes the contrast between the two main characters – she smiles through life’s challenges, while he seeks refuge in alcohol.
Visual highlights from MiliRotten Tomatoes
Confrontation: Unable to understand Shekhar’s solitude and unfriendliness, Mili ropes in the children from their building to disturb his peace in protest. What begins as an immature territorial clash soon reveals Mili’s intuitive response to the darkness surrounding him. Her inner child recognises and challenges the negativity threatening their otherwise pleasant environment.
Their innocence and kindness melt his hardened exteriorIMDb
Compassion: After provoking Shekhar, the children apologise sincerely. Their innocence and kindness melt his hardened exterior, and he invites them, along with Mili, to play on his terrace. In the song Maine Kaha Phoolon Se, Shekhar, glass still in hand, watches them dance and smiles for the first time. The warmth of this moment even leads him to request tea instead of whisky in the next scene, to his servant’s delight.
Visual highlights from Mili
In the song Maine Kaha Phoolon SeIMDb
Crossroads: In a drunken breakdown, Shekhar slashes his wrist and is saved by Mili. For the first time, she shows visible anger and tears. Her outburst marks a new level of closeness in their friendship and signals the beginning of something deeper. In his vulnerable state, Shekhar is moved by Mili’s scolding – a sign of care he desperately craves.
The raw emotions of every characterInstagram/ hindifilimography
Romance: Shekhar’s growing vulnerability draws him closer to Mili. He begins confiding in her about childhood trauma, his mother, and the root of his pain. He is receptive of her solace and outlook on life. Their bond strengthens as they exchange notes when Mili falls ill. He experiences joy for the first time, unaware of the seriousness of her condition.
The heart-rending scene between father and daughterInstagram/ hindifilimography
Tragedy: The film reaches its most emotional point when Mili’s father (Ashok Kumar) learns that she has only days to live. The harrowing scenes that follow reveal the raw emotions of every character, from shock to grief to quiet acceptance. The heart-rending scene between father and daughter, with Kumar and Bhaduri in each other’s arms, delivers an emotional poignancy audiences can relate to.
The woman who taught him how to liveRotten Tomatoes
Role reversal: Initially unable to process the truth about Mili’s illness, Shekhar has a change of heart about leaving after confronting some hard realities. The woman who taught him how to live is dying, and he feels betrayed by fate. Determined not to give up, he sets out to explore every possible option that might offer her a chance of recovery.
He sets out to explore every possible option Rotten Tomatoes
Selfless love: Unaware that Shekhar already knows the truth, Mili urges her father not to tell him about her illness. Having changed him for the better, she fears that the news will undo his progress and send him back into despair. In that moment, she puts his well-being above her own.
Having changed him for the betterInstagram/ hindifilimography
Proposal: In the film’s penultimate scene, its message becomes clear – the purpose of life is happiness. Shekhar realises he can fulfil one of Mili’s dreams by marrying her. He proposes not out of pity or obligation, but love. Their decision to embrace a short but meaningful life together speaks volumes.
Fifty years later, those sentiments still ring trueInstagram/ hindifilimography
Farewell: The story, told in flashback, returns to its starting point as the newlyweds leave for Switzerland in search of a cure. Mili’s father waves to their aircraft, perhaps knowing she may never return. As the plane takes off, the audience is left with a lasting message – that hope should never die. Fifty years later, those sentiments still ring true.
Aamir Khan returns to the big screen this month in Sitare Zameen Par, a heart-warming Bollywood remake of the Spanish comedy-drama Campiones. He plays a disgraced basketball coach who takes on an unexpected challenge with a team of individuals with special needs.
Sporting a look unlike any from the past decade, the film – due out on 20 June – adds to the many transformations he has embraced over his career, from shifting hairstyles to dramatic facial hair.
Eastern Eye uses this new role as a chance to revisit the superstar’s evolving on-screen appearances.
Yaadon Ki Baarat (1973): An eight-year-old Aamir Khan made his film debut in a song sequence of this smash hit, produced and directed by his uncle Nasir Hussain. It marked the first time cinema audiences saw him on screen.
The actor’s evolving style from youth to maturity getty images
Qayamat Se Qayamat Tak (1988): After working in further films as a child star and assistant director, the baby-faced actor was launched as a leading man with the hit romantic musical. He established himself with that same clean-cut look in subsequent films.
Aamir Khan embracing vintage looks with classic charmgetty images
Baazi (1995): This action thriller failed at the box office but is remembered for Khan dressing in drag. The striking female get-up was arguably the only memorable aspect of an otherwise forgettable film.
Rangeela (1995): In this musical hit, Khan played a street-smart ruffian and debuted a rugged new look with heavy stubble. The image shift helped him fully inhabit the role and showcased a different side of him to audiences.
Bold and dramatic changes defining Aamir Khan’s careergetty images
Ghulam (1998): Heavily inspired by the 1954 Hollywood classic On the Waterfront, this film saw Khan blend ruggedness with a more heroic edge. His portrayal of a hoodlum with boxing skills left a lasting impact.
Dil Chahta Hai (2001): With its fresh haircuts and urban styling, Farhan Akhtar’s directorial debut introduced a new wave of contemporary cool to Hindi cinema. Khan’s image underwent a complete makeover as part of the film’s trendsetting aesthetic.
From rugged to refined Aamir Khan’s versatile appearancesgetty images
Mangal Pandey The Rising (2005): After a four-year hiatus, Khan returned with his most dramatic transformation yet – long hair and an epic moustache that brought to life the spirit of the 19th-century freedom fighter.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
Memorable film moments showcasing Aamir Khan’s unique stylegetty images
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Aamir Khan’s blend of classic and contemporary fashiongetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Aamir Khan’s dedication to authentic character portrayals getty images
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash: The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Cinematic milestones reflected in Aamir Khan’s on-screen imagegetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
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Bollywood legend Raj Kapoor is best remembered for his brilliant films, beautiful music and timeless cinematic legacy, which includes a famous family of stars.
His impressive body of work, which entertained generations – including Barsaat, Awaara, Shree 420, Chori Chori, Sangam, Mera Naam Joker, Bobby, Prem Rog and Satyam Shivam Sundaram – is widely known. But beyond the many milestones, impact and his larger-than-life persona, there are rare facts about Kapoor that make him even more fascinating.
Born on December 14, 1924, he passed away on June 2, 1988, aged 63. Eastern Eye marks his death anniversary this week by taking a deeper dive into his life and revealing 20 things you may not know about him.
Name: The superstar’s birth name was Ranbir Raj Kapoor. The name ‘Raj’ was also given as the middle name to all his brothers. His grandson, actor Ranbir Kapoor, is named after him.
Bari-DadiFacebook/ Society
Debut: Kapoor made his debut as a child artiste in Inquilab (1935) before taking on a lead role in Neel Kamal (1947). However, his first appearance on screen was in a lesser-known Bengali film, BariDadi, as a very young child.
Beginning: Unlike star kids today, Kapoor did not receive any special privileges. The son of legendary actor Prithviraj Kapoor started at the bottom – sweeping studio floors and working as a clapper boy.
Kapoor discovered several leading talentsDigital Studio India
Young sensation: Did you know that Kapoor was only 24 when he founded his iconic production banner RK Films in 1948? That same year, he also produced, directed and starred in Aag.
Discovery: Kapoor discovered several leading talents, including launching teenage sensation Dimple Kapadia in Bobby (1973). Actress Nimmi was also discovered by him – she was visiting a shoot when Kapoor offered her a role in his 1949 hit Barsaat, which she accepted.
Raj Kapoor ANI
Music: Shankar–Jaikishan, who delivered some of Bollywood’s greatest soundtracks – including Awaara, Shree 420, Chori Chori, Yahudi, Junglee, Professor, Janwaar and Brahmachari – were working in Kapoor’s father’s theatre company when he gave them their first film break, composing for Barsaat.
Nargis and Raj Kapoor in BarsaatFilmiGeek
Record-breaker: At just 25, Kapoor’s 1949 production Barsaat became the highest-grossing Hindi film of its time. Soon after, while he was still in his 20s, he built his own film studio.
Inspiration: Charlie Chaplin had a profound influence on Kapoor. The Indian actor was moved to tears when he finally met his idol.
Poet: Renowned lyricist Shailendra, who wrote evergreen songs such as Awaara Hoon (Awaara), Mera Joota Hai Japani (Shree 420), Ajeeb Dastan Hai Yeh (Dil Apna Aur Preet Parai), Dost Dost Na Raha (Sangam) and Aaj Phir Jeene Ki Tamanna Hai (Guide), was first spotted by Kapoor at a poetry gathering. He offered him the chance to write for films.
Near miss: Kapoor’s 1951 classic Awaara broke box-office records and took Hindi cinema global, but he almost didn’t produce, direct and star in it. Writer Khwaja Ahmad Abbas had initially offered the story to Mehboob Khan, but withdrew it after objecting to his casting choices (Ashok Kumar and Dilip Kumar as father and son). He later handed the story to Kapoor, starting a dream partnership that included Shree 420 (1955), Jagte Raho (1956) and Bobby (1973).
Pathbreaker: Kapoor used striking locations in his films, but with Sangam (1964), he pioneered the trend of shooting across international sites – including London, France and Switzerland – setting a precedent for other producers.
Fight: At the premiere of Sangam, a heated argument broke out between Kapoor and writer Inder Raj Anand. Anand reportedly slapped Kapoor. Kapoor retaliated by having him banned from Bollywood, resulting in Anand losing 18 film projects, and subsequently suffering a heart attack. The two later reconciled.
Few realise his brothers-in-law included actors Prem Nath and Prem Chopra Bollywoodshaadis
Relations: Most fans know of Kapoor’s famous family members across generations – including Shammi, Shashi, Rishi, Kareena, Karisma and Ranbir Kapoor. But few realise his brothers-in-law included actors Prem Nath and Prem Chopra.
All-rounder: Affectionately called “the great showman”, Kapoor was best known as an actor, director and producer. But he was also a skilled musician and contributed creative ideas for the songs in his films. He was a respected film editor too.
Hidden gem: While Kapoor is best known for classics he starred in or directed, he also produced Boot Polish (1954), regarded as one of the finest children’s films ever made in Bollywood. It won multiple awards and remains a hidden gem in his body of work.
Raj Kapoor and Nargis during movie shootBollywoodshaadis
Heartbreak: The affair between Kapoor and Nargis is well known. After she married Sunil Dutt, Kapoor was reportedly so heartbroken that he burned himself with cigarettes, drank heavily and cried for days.
Other affair: Few know about Kapoor’s extra-marital relationship with actress Vyjayanthimala. Rishi Kapoor revealed that his mother temporarily moved into a hotel with their children and gave Kapoor an ultimatum to end the affair, which he did.
Failure:Mera Naam Joker (1970) is now seen as an all-time classic, but it was a commercial disaster on release and nearly bankrupted Kapoor. He bounced back with the low-budget Bobby (1973), which became a massive hit.
Cooking: Away from films, Kapoor had a passion for cooking – it was how he relaxed. Though he loved simple home-cooked meals, the self-confessed foodie also knew fine dining well and regularly hosted lavish dinner parties.
Friendship: After the record-breaking success of Andaz (1949), Kapoor and Dilip Kumar never acted together again, leading many to assume they were rivals. In fact, they shared a deep friendship and were both born in Peshawar. Kapoor even offered Kumar a lead role in Sangam (1964), letting him choose between the two parts. Kumar was devastated by Kapoor’s death and was by his side in hospital during his final days.
Perhaps the biggest Bollywood celebration this year is the 50th anniversary of the iconic film Sholay, which smashed box-office records when it was released in 1975.
But what most Hindi cinema fans may not realise is that another film released that same year (technically) made a bigger profit – with a much higher return on investment. In that regard, it remains perhaps the most profitable Bollywood movie in history.
Hindu devotional drama worked miracles at the box office IMDb
That micro-budget film, Jai Santoshi Maa, achieved something so miraculous it has never been replicated. The second-highest box-office grosser of 1975, it earned more than all-time classics released that year, including Deewaar, Dharmatma and Chupke Chupke – all led by superstars. Despite having no big stars, no lavish sets, minimal marketing and being made on a shoestring budget, the Hindu devotional drama worked miracles at the box office after its release on May 30, 1975.
Eastern Eye marks the landmark film’s 50th anniversary by revisiting its remarkable story and impact, one largely forgotten over time.
The film was written with its limitations in mind, using minimal sets and focusing on emotion IMDb
Struggling actor Vijay Sharma made the leap to directing with this deeply religious drama. At a time when Bollywood was dominated by action films headlined by big stars, he secured only a modest budget – thought to be around `500,000 (£5,000) – from low-profile producer Satram Rohra.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names. Kanan Kaushal, previously seen in minor supporting roles, was cast in the lead. Anita Guha, who had some success in the 1950s but was mostly inactive by the 1970s, was brought in for a guest appearance as the divine title character.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names Scroll.in
Bharat Bhushan, once a major star in the 1950s and early 60s but by then largely forgotten, took on a role out of necessity. Trilok Kapoor – younger brother of Prithviraj Kapoor and uncle to Shammi, Raj and Shashi – was also struggling for work and joined the cast.
What the film lacked in glamour, it made up for with a powerful, spiritually resonant soundtrack. Composer C Arjun and lyricist Kavi Pradeep, both relatively obscure at the time, delivered career-best work despite budget constraints.
Unable to afford Lata Mangeshkar or Asha Bhosle, they turned to their lesser-known sister, Usha Mangeshkar. They did, however, manage to get Manna Dey and Mahendra Kapoor to sing one song each. The film was written with its limitations in mind, using minimal sets and focusing on emotion.
The film became a case study in how faith can fuel fandomIMDb
The story followed a pious woman who remains devoted to the goddess Santoshi Maa despite enduring severe hardship, poverty and abuse from her in-laws. Her unwavering faith is ultimately rewarded when the goddess intervenes to restore justice and peace.
When the film was ready to be released, no major distributor would take it. A smaller company finally agreed to give it a limited release, and then something extraordinary happened. It's simple storytelling, emotional arc and devotional songs struck a deep chord with audiences. Unlike the more extravagant mythological films of earlier decades, Jai Santoshi Maa was intimate, emotional and spiritual.
It felt less like watching a film and more like experiencing a prayer. What the film lacked in advertising, it made up for with astonishing word of mouth. Its appeal extended beyond the religious – the emotional story of a woman’s resilience resonated especially with female viewers.
Songs like Main To Aarti Utaru Re Santoshi Mata Ki had entire theatres singing along. While wealthier audiences flocked to watch star-studded blockbusters, grassroots viewers embraced everything about this modest devotional film, especially its message of hope.
Cinema halls screening the movie were transformed into makeshift temples, with patrons arriving barefoot, applying vermillion on their foreheads and distributing prasad after screenings. In some places, audiences performed prayers before the film began. Prasad counters even appeared inside theatres – unheard of in Indian cinema until then.
There were female-only screenings and reports of coconuts being broken at theatre entrances. In rural areas, entire villages organised trips to the nearest towns to catch a glimpse of the goddess on screen. Traditional moviegoers were replaced by worshippers, many of whom wept during the film and sang bhajans in the aisles.
As one historian recalled, “Watching Jai Santoshi Maa wasn’t like watching a movie – it was like participating in a collective act of worship.”
Cinemas that had initially rejected the film scrambled to secure it, leading to a dream run across India. When Sholay released a few months later, it crushed most of the competition, except Jai Santoshi Maa, which continued its successful run. In fact, had Sholay not been released, the devotional drama would likely have earned even more.
While record-breaking films like Sholay returned 10 to 15 times their investment, Jai Santoshi Maa reportedly earned over 100 times its budget. One journalist wrote, “Sholay gave us fire and bullets, while Jai Santoshi Maa gave us faith and devotion – and the box office bowed to both.”
Despite its massive earnings, reports suggest the producer was cheated by distributors and saw little profit. Yet the legacy of Jai Santoshi Maa went far beyond box office success.
Following its release, Santoshi Maa temples sprang up across India. Calendars, posters and religious books featuring her image flooded markets.
The film became a case study in how faith can fuel fandom, inspiring similar devotional films and later mythological television serials.
Lead actress Kanan Kaushal became so adored that fans often greeted her with reverence. Anita Guha, who played the goddess, was so strongly associated with the role that she was referred to as “Santoshi Maa” in public, with some people even seeking her blessings.
In an era dominated by big budgets and big stars, Jai Santoshi Maa remains a timeless reminder that faith and storytelling can achieve what no spectacle can. It had no brooding heroes, no bullets, and not a single superstar – but it accomplished something no other film has matched.
Remakes and similar concepts followed, but none could replicate its divine success. As director Vijay Sharma later said, “We thought it would do okay in devotional circuits. But the response was something else – a tidal wave of emotion and faith.”
RISING filmmaking star Vishal Furia is making a name for himself as a master of the horror genre.
The writer-director introduced himself with Lapachhapi (2017), described as the best Marathi horror film ever made. He followed it up with the 2021 scary movies Chhorii and Bali. Furia has added to his impressive list of horror films with newly released sequel Chhorii 2, which is available now on Amazon Prime. Nushrratt Bharuccha and Soha Ali Khan headline the spooky story filled with strange happenings, scares and surprises.
His next movie Maa, due to be released on June 27, stars Kajol and has been billed as the ultimate battle of good versus evil. The versatile talent has balanced horror with directing web serials and the 2022 serial killer movie Forensic.
Eastern Eye caught up with the creative talent to discuss his journey, the hit Chhorii films, the horror genre, forthcoming film Maa and Hollywood hopes.
What connected you to creativity?
I was studying engineering but was always drawn to the arts. I did plays in school and college. My parents did not support a creative career, so I leaned towards VFX, which felt like a middle ground. Working as a VFX artist kickstarted my filmmaking journey.
How do you reflect on your journey as a filmmaker?
I quit my job in 2014 to pursue filmmaking seriously and chose horror because it felt underserved. My debut Lapachhapi was made in Marathi as the industry was not open to fresh ideas. It got a great response, especially from women, and led to Chhorii, Forensic and now Chhorii 2 in Hindi. It has been a journey of persistence, and staying true to my vision, despite industry norms.
When you were making Chhorii, did you ever expect it to make such a big impact?
Chhorii had its roots in Lapachhapi, which deeply connected with female audiences. I received countless personal messages, especially from women sharing their own stories. So yes, I had a sense Chhorii would connect too. With Chhorii 2, we are addressing another social issue through horror – this time, even scarier, and I hope it strikes the same chord again.
Tell us about Chhorii 2.
Chhorii 2 picks up seven years later. Sakshi now has a daughter and lives far from the haunted fields, but her past catches up when her daughter is kidnapped. As she returns to find her, Sakshi is pulled into an underground cult beneath the fields and must navigate its dark maze to save her child.
How does the sequel compare to the first film?
We have made Chhorii 2 scarier and more sinister. Instead of going bigger, we went tighter and more claustrophobic to heighten the fear. The compact setting mirrors the regressive mindset of the new characters. It is like being trapped in a nightmare you cannot escape.
What is your favourite moment in the movie?
It is hard to pick without giving spoilers, but I have always loved the emotional moments, especially when one or more women come together as a collective to protect each other and unite to defeat the evil forces.
What do you love the most about the horror genre?
The horror genre lets me explore extreme emotions – love, fear, empathy – all a few notches above regular drama. The audience reactions, whether gasps or cheers, are stronger too, and I really enjoy that. I had the fortune of seeing this with Lapachhapi in theatres. That collective response gives me a real high. Technically, horror is very challenging. Every department must work in sync to create those moments. One wrong note and the audience disconnects. That is why I love the genre – it pushes you to get everything just right.
What, according to you, is Bollywood not getting right about horror?
Being in the trade and meeting many producers and studios, I feel very few actually understand how horror should be written or produced. They look for plot twists and big story movements, but horror is more about atmosphere – that is what builds it. Also, mainstream actors do not want to play victims, and in horror, the protagonist is usually the victim until the very end. They do not see that becoming victorious at the end is more heroic.
Chhorii 2
You have your pulse on the horror genre. What else does Bollywood get wrong?
Investment has been low, and for the longest time, Bollywood templated horror with sex, songs and mediocre acting, all of which kill the emotional connect. Plus, we copied western or Japanese horror instead of exploring our own rich Indian folklore and urban legends. But things are changing now – horror comedies have brought money in, and there are filmmakers like me trying to build something new. I am hopeful Indian horror will finally find its place.
Nushrratt Bharuccha stars in both Chhorii films. What do you most like about her as an actress?
I met Nushrratt on another project that did not happen but could see she was hungry to prove herself – boxed as a glam actress, not getting meaty roles. When we were casting for Chhorii, my producer Vikram Malhotra and I instantly thought of her. She brings amazing energy, always pushing boundaries, experimenting, wanting to get it right. After two films, we have built great creative chemistry. Sometimes just a nod is enough on set. She is a gifted actor, and I genuinely feel Chhorii 2 will be a standout in her filmography.
What can we expect from your film Maa?
Maa was offered to me by Ajay Devgn sir, and I was thrilled. Getting to work with him as a producer and Kajol as the lead was a big honour. The film blends horror with Indian mythology, and Kajol has done a phenomenal job. Ajay sir’s creative vision, especially in action and VFX, has taken the supernatural element to another level. Maa is a very interesting addition to the horrorthriller space, and I am excited for people to experience it.
Who is your filmmaking hero?
Guillermo del Toro, Tim Burton, Christopher Nolan, Takashi Miike, Wong Kar Wai, Mike Flanagan, Jordan Peele, Ari Aster, Robert Eggers, Mani Ratnam, Steven Spielberg, Ram Gopal Varma and M Night Shyamalan
Finally, can you see yourself working in Hollywood?
Absolutely. Indian stories need to travel, and if I can make them in Hollywood, that would be amazing. I would also love to take up a Hollywood story if offered. Horror translates across cultures, so it is a great genre to explore globally. Someday, I would love to make a version of Alien, based in India, or even a James Bond film, because why not?
STORYTELLING has always been at the heart of everything Gitika Buttoo has done. Having grown up on a healthy diet of film and TV from diverse genres, the cool creative has been directing theatre plays across the UK for the past decade.
She recently made her screen directing debut with the short film Before I Do, which unlocked a whole new level of excitement and ambition to create more for the screen.
The short film, screening at this year’s BFI Flare LGBTQIA+ Film Festival, taking place from Wednesday (19) – next Sunday (30), adds to an impressive body of work for Buttoo as a director across diverse mediums.
Eastern Eye caught up with the great British talent to find out more.
What inspired your short film Before I Do?
Both Afshan and I were inspired by our shared experiences as queer south Asian women. I met Afshan D’Souza Lodhi eight years ago when she wrote the first piece of theatre I ever directed. From the start, we bonded over our journeys, both as creatives and as queer brown women. Over the years, we had countless conversations about the lack of south Asian women at the centre of British stories, especially those that explore sexuality and freedom in the way white queer characters often can. That became the foundation for our film.
Tell us about the film.
On the morning of her wedding, Mona is haunted by her untamed desires and forced to confront the tension between tradition and her personal identity. As the ceremony approaches, she navigates overbearing family expectations, memories of past experiences, and provocative dating app notifications that challenge her to question what commitment truly means.
How much are you looking forward to being part of the BFI Flare LGBTQIA+ Film Festival?
It’s such an incredible honour to have our film selected for BFI Flare. This festival is a celebration of exceptional filmmaking, and to have our work showcased on this platform means the world. I’m beyond excited to share the film with audiences and be part of this brilliant lineup of LGBTQ+ stories.
Who are you hoping connects with this story?
Honestly, I hope it resonates with everyone. But more than anything, I hope British Asian audiences, especially queer people and their families, see themselves in it. Afshan and I were very intentional about the portrayal of Mona’s mother, played so beautifully by Ayesha Dharker. We wanted to explore the complexities of upholding cultural traditions while also showing deep, unconditional love for your child.
Is there a key message you want to convey?
We are constantly evolving, and representation matters. Seeing brown women on screen taking up space gave me the confidence to imagine that for myself, and I hope this film does the same for others. Queer south Asian women deserve stories that feel authentic and expansive – ones that push our narratives forward rather than limit us. I also hope the film sparks conversations between families, across generations, and helps create a world where people feel safe enough to live unapologetically as themselves.
Who is your filmmaking hero?
Gurinder Chadha, without a doubt. Her films shaped so much of my perspective and had a huge influence on me, as they did for many south Asian women of my generation. She tells stories beautifully and paved the way for south Asian representation in film. If I can achieve even half of what she has, I’ll be happy. What are your future plans? More film. I’m currently developing my next project. Stay tuned on my socials for updates. Alongside that, I’m directing more theatre this year, with Through It All Together at Leeds Playhouse in the spring and Period Party by Gayathiri Kamalakanthan at Soho Theatre this summer.
BFI Flare LGBTQIA+ Film Festival, taking place from Wednesday (19) to next Sunday (30). whatson.bfi. org.uk/flare.