The captivating storyline of the Hindi-language drama ?Santosh??where a widow steps into her late husband’s role as a constable?may seem fictional to many viewers around the world. However, this narrative is rooted in real-life legal provisions and societal dynamics, adding authenticity to the film’s portrayal of complex themes.
In her debut feature film, which was a contender for the prestigious Un Certain Regard award at Cannes and received accolades at esteemed festivals like Camerimage, British-Indian director Sandhya Suri incorporates elements from Indian law. Specifically, the concept of ?compassionate grounds? enables the dependent of a deceased government employee to secure their job, even in instances like this where the role is filled after the employee’s passing. The film follows the titular character, portrayed by Shahana Goswami, as she delves into the mysterious murder of a young girl, guided by a female superior officer, Sunita Rajwar, whose intentions remain enigmatic. This narrative unfolds as a profound exploration of a woman’s struggle with personal connections amidst a male-dominated sociopolitical landscape.
As the film approaches its theatrical release in New York on December 27, followed by a Los Angeles premiere on January 10, Suri took the time to discuss her creative inspirations?both bureaucratic and artistic?in crafting ?Santosh.? ?My primary goal was to create a crossover film,? Suri explains to Variety. ?This crossover isn?t about commercial art; it?s about delivering a narrative that resonates with both Indian and Western audiences, from its initial concept to each carefully crafted subtitle and dialogue.?
What sparked your creative vision for the film ?Santosh??
The idea for ?Santosh? originated from the legal provision regarding ?appointment on compassionate grounds,? which became the catalyst for the character’s extraordinary journey. I have always sought to explore the mentor-mentee dynamic, or the guru-disciple relationship, framed through a spiritual lens. My intention was to center the narrative on two women, while consciously avoiding overly simplistic portrayals of female solidarity. I wanted to illustrate the profound bond between Santosh and Geeta, acknowledging that such relationships often carry complex shadows. Additionally, I aimed to capture a chemistry between women that transcends labels, exploring a homoerotic subtext that is often more readily accepted in male-to-male interactions in art but remains less visible among women.
Shahana Goswami in ?Santosh?
How did you collaborate with Shahana and Sunita to develop the characters Santosh and Geeta?
It was essential for me that both actresses took the time to immerse themselves in the police environment. After years of striving for access, I was thrilled when I finally secured an opportunity for them to witness firsthand the realities I had uncovered during my research. Our days were spent exploring this world together, followed by evenings dedicated to script discussions and character development. We approached the process with an experimental spirit; Sunita often brought a nurturing and optimistic perspective, which created a dynamic push-pull that helped establish the perfect tone for the film.
How does ?Santosh? subtly address patriarchal structures without overtly commenting on them?
I have a strong aversion to didactic filmmaking; my background in documentaries has taught me to avoid overtly campaigning for causes. Although the film intricately weaves themes such as misogyny, patriarchy, and casteism into its narrative, I prefer to present these issues as a rich tapestry of society. My intention was to depict a reality where these social dynamics exist so pervasively that they become an accepted part of daily life, rather than an explicit focus of the story. This subtle approach allows the audience to gain a deeper understanding of how systemic violence is perpetuated within such environments without feeling overwhelmed by a heavy-handed portrayal.
In what ways did you conceptualize the homoerotic undertones within the characters? actions and the storyline?
The portrayal of homoerotic undertones largely stems from Geeta’s motivations. By the film’s conclusion, she makes a profound sacrifice for Santosh, a decision that feels slightly na?ve or fantastical given her character?s depth. This act of sacrifice reflects a powerful emotional connection that I believe must originate from a genuine love for Santosh, regardless of how one might define it. The intensity of Geeta’s feelings for her character is unexpected and adds complexity to their relationship. Furthermore, Geeta’s position within the hierarchy of the Indian police likely leaves her feeling isolated, fostering a deep yearning for intimacy, whatever form that may take.
Sunita Rajwar, left, and Shahana Goswami in ?Santosh?
How do you balance the need for justice with the film?s somber ending?
While the script underwent minimal revisions, it was during the Sundance Lab that I developed the first version. I was fortunate to receive guidance from industry veterans, including Zack Sklar, known for his work on ?JFK,? and others renowned for their expertise in procedural storytelling. Some mentors questioned why Santosh didn?t take more drastic actions to achieve closure. However, I knew that such a response would not be true to her character. The pivotal moment for her validation occurs during a diner conversation, a scene reminiscent of ?Heat,? where Geeta engages in an unusual psycho-feminist discourse that, while bizarre, provides disturbing clarity. Ultimately, Santosh returns to the home of the murdered girl?s parents, witnessing a moment of peace between the mother and daughter, leading her to realize that revealing the truth may not always be the best course of action in such circumstances.
How did you navigate the complexities of presenting both Santosh and Geeta?s perspectives with empathy and nuance?
I find Geeta to be a complex and somewhat enigmatic character. The diner scene was crucial for revealing her motivations and beliefs, and it underwent extensive refinement up until the final editing stages to ensure it resonated. Even now, I perceive her as largely unknowable. Questions linger about whether she genuinely believes her own rhetoric or if she harbors a grand vision for women in society. This complexity made it intriguing to craft a character whose true intentions remain ambiguous, evolving throughout the writing and filming process, and even in the final cut, I?m left wondering if she truly comprehends her own beliefs.
How did living outside of India influence your approach to telling this story authentically?
Living abroad has heightened my awareness of the necessity for authenticity in storytelling. This awareness contributed to the ten-year process of bringing ?Santosh? to fruition, as I needed time to conduct thorough research and fieldwork before directing the film. Without this preparation, I would have lacked the confidence to anchor the narrative in reality. I am particularly sensitive to how India is represented on screen, and I believe that an accurate portrayal requires integrity and a genuine understanding of the subject matter. This doesn?t imply that only Indians can tell Indian stories; rather, it highlights the importance of sensibility and a commitment to avoiding cynical portrayals.
Shahana Goswami, middle, in ?Santosh?
What themes from ?Santosh? will you carry into your future projects?
I don’t approach my work strategically; otherwise, I believe I would find myself in a different position in my career. My focus is on discovering compelling narratives, as the process of bringing a project to life demands immense dedication and time. Currently, I am working on a new project set in the West, purely by coincidence. This upcoming film is a dystopian love story based on a novella by J.G. Ballard. Each of my projects presents unique opportunities to explore new themes, and while my next work features a male protagonist, I remain committed to crafting intimate character relationships and utilizing the cinematic form with precision and rigor.
How do you navigate the expectations of authenticity in storytelling, especially when coming from a marginalized community?
If I adhered strictly to that line of thought, I might have refrained from making ?Santosh.? Having transitioned from documentary filmmaking, where we frequently enter the lives of others, I emphasize research, respect, and building relationships within the communities I portray. Although ?J.G. Ballard? offers a different creative context due to its dystopian nature, I still prioritize thorough research and fostering genuine connections. Initially, I felt apprehensive about releasing this film in India, considering its critical perspective. However, the overwhelmingly positive response regarding its authenticity has validated my efforts. I believe that storytelling should be inclusive; men can tell women?s stories, and women can tell men?s stories?there should be no restrictions in narrative expression.
Reflecting on the 10-year journey to complete this film, how has it influenced your approach to future projects?
The next project will not take nearly as long to complete. I believe the lengthy process was partly due to the significance of my first feature film; it demanded a careful and thoughtful approach. I appreciated the naivety that accompanied writing ?Santosh? as my first significant work. In contrast, my previous short film, ?The Box,? was created with a sense of urgency, as I had no prior experience. On this project, there were numerous action sequences, stunts, and a complex array of characters, making it a significant undertaking for my debut. Moreover, when I conceptualized this film in 2014, narratives centering on female police officers in India were virtually nonexistent. However, by the time production began, there was a surge of visibility for female police characters. This shift prompted me to reflect on how to differentiate my work in a landscape that was rapidly evolving, steering me toward a focus on authenticity and rich detail to ensure ?Santosh? stood out in a crowded field.
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