Anubhav, how important is it for you to make films that address relevant issues?
I don’t look at my films as “socially relevant” or put them in any bracket. I’m personally and emotionally driven by certain subjects, and I end up making films about them. It’s not that I choose such films it’s the stories that stay with me and bother me that I eventually make.
If you had to make Tum Bin or Ra.One today, would you be game?
I would love to make a love story. I would love to make something like Ra.One. But, like I said, it has to come from within. The day it happens organically; I will do it.
What was the genesis of Assi?
The genesis of the film wasn’t one news report, headline, or single event. It was the cumulative impact of many such incidents. Unfortunately, I happen to be someone who is deeply affected by everything that is wrong around us. I look at those things more passionately than I look at what is right.
Even when India wins a match, I celebrate internally. You won’t see me screaming in a stadium. We grew up watching Mr. Bachchan’s intense, brooding characters. That generation celebrates internally.
So there wasn’t one headline — it was a cumulative emotional build-up. I felt deeply frustrated that I couldn’t do anything about what was happening around us. Then it struck me: I make films. I can make a film about it. So I did.
Were these actors your first choices?
Yes. Though I hate calling them the “supporting cast,” all the other actors were my first choices. I’m blessed that these are people who choose to stand by me.
Actors are often hesitant about guest appearances or cameos, but Supriya Pathakji, Seema Pahwaji and Naseeruddin Shah agreed immediately. I didn’t have to convince them — I just asked, and they said yes.
When did you zero in on Taapsee as the lead?
Very early in the writing process. I start casting while I write because I begin to see faces for the characters. My writer Gaurav Solanki and I both felt early on that this part was for Taapsee.
I am aware that I’ve repeatedly cast Manoj Bajpayee and Kumud Mishra in my films, and I try to place them in diverse roles so it doesn’t feel repetitive. But with Taapsee, it happened very organically during the writing.
And the amazing Kani Kusruti?
Kani took a bit more time. The character Parima evolved gradually, and I had a face in mind but couldn’t find it among the usual choices. It was Mukesh Chhabra who suggested Kani. I had loved her in All That We Imagine As Light, and I immediately said yes. I’m glad the logistics and schedules worked out.
Where do you place Assi in your body of work?
I don’t look at it as a repertoire — that sounds very French and exotic. I just make films. Naturally, they sit on a shelf somewhere. They’re meant for the audience, and they can place them wherever they want.
Right now, Assi is the most recent one, so it feels very special. But I don’t think in terms of “repertoire.”
Are you happy with the response?
The film started slow on Friday. It grew on Saturday and even more on Sunday — despite the India–South Africa match. So it’s holding and growing, which is encouraging.
Of course, I’m also thinking about what comes next. I have three or four projects I’m equally passionate about. I don’t decide alone — I discuss things with friends and family over time, and eventually a clear choice emerges. Sometimes logistics also play a role. But I’ll know in about a month.
Do you feel the process of justice in rape cases needs fast-tracking?
That’s beyond my bandwidth. The justice process is for those in Parliament and the legislatures to address. One hopes it becomes faster. But this film is largely not about them. It’s about us. We need to do much more — beyond what the judiciary or police can do.
The reminder of rape incidents every 20 minutes — how did that idea emerge?
The “every 20 minutes” device was triggered by my DOP, Ewan Mulligan. When we were planning the shoot, he kept asking how we could visually mark that statistic. During filming, we couldn’t quite figure it out.
After the shoot and even after editing, Ewan sent me a clip-on WhatsApp — the film fading in red instead of black. I loved it instantly. I believe it was his idea to repeat that fade every 20 minutes. So we bleached the frame to red and came back.
Some people liked it but didn’t understand what we were punctuating. At some point, I felt that risking being “on the nose” was necessary. Some things must be uncomfortable. We’ve ignored them for too long. I wanted the reminder to feel unbearable.
More Pages: Assi Box Office Collection , Assi Movie Review
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