‘Sabar Bonda’ marks your feature directorial debut. What inspired this story and what drew you to explore the themes of love and belonging through this setting?
Rohan: I didn’t set out to explore any specific themes. When my father passed away in 2016, I had to return to my ancestral village with my mother, just like Anand in the film. I was facing a lot of pressure to get married at the time and wanted to escape from it all. I imagined having a friend in the village, someone I could sneak away with for a while, and that thought sparked the idea for ‘Sabar Bonda’. I realised I could tell a love story set during a period of grief. The themes of loss and love weren’t deliberate, they emerged naturally through the writing. I usually don’t start with defined themes or character arcs; I just write, and the themes reveal themselves along the way. In this story too, the contrast between grief and love became central simply because of the situation the character was in.
The film resists naming queerness directly, yet it breathes through intimacy and silence. Why was it important for you to let queerness exist without declaration?
Rohan: I believe that in real life, we often understand things without them being said out loud. That’s part of being human, sensing and feeling without needing everything explained. I wanted to bring that subtlety into the film, trusting that audiences are intelligent enough to grasp what’s happening without explicit dialogue. Someone told me after watching the film that they didn’t understand everything at first, but gradually it all made sense, and that’s the kind of engagement I wanted. In most films, everything is explained immediately, but I wanted the audience to experience the story as it unfolds, just like in life. My biggest reference was real life itself, not other films, though I’m inspired by filmmakers whose unique storytelling voices encourage me to find my own.
What first attracted you to Rohan’s vision for ‘Sabar Bonda?
Neeraj: Rohan and I had previously collaborated on a short film set in a similar village, and I admired how he used natural landscapes; raw, unfiltered, and free from the usual cinematic gloss. When the script for ‘Sabar Bonda’ came to me, I immediately fell in love. As a first-time feature producer, I wanted to make a film true to our vision, without worrying about conventions or industry pressures. Rohan’s plan to use the natural sounds of the Marathwara region; wind, birds, crickets, without music resonated with me, as I had experienced the region’s quiet beauty first-hand. On the first day of shooting, the richness of the soundscape, from grazing goats to chirping birds, confirmed our choice. While industry veterans suggested adding music or altering visuals, we resisted, allowing audiences to connect with the story through their own emotions. This approach creates a more intimate experience, letting viewers feel sadness, joy, or catharsis simultaneously.
Bollywood often dominates global attention; in your view, how important are regional films in telling diverse Indian stories and expanding the country’s cinematic landscape?
Rohan: Regional films have always stood out for showcasing local culture and the nuances of everyday life, which makes them diverse and compelling. Unlike mainstream commercial cinema, independent and regional storytellers have the freedom to explore life, human emotions, and cultural details in their own way. As a child, I remember watching Marathi films, like those by Jabbar Patel, and wondering why they felt so different. Over time, I realised it was their treatment; the storytelling, performances, and attention to cultural roots. Regional cinema has long been bold, intimate, and grounded, capturing life in its complexity, which is what makes these films so distinctive.
Neeraj: We shouldn’t divide cinema into Bollywood versus regional, what matters is the quality and diversity of storytelling. With the success of films like ‘All We Imagine Is Light’, ‘Girls Will Be Girls’, and recent winners at Venice, Cannes, and other festivals, it’s clear that India has immense talent beyond mainstream Bollywood. These films are making their mark on the global stage, demanding attention, screen time, and audience love just as much as big commercial films. The shift is visible even at home, audiences are increasingly seeking out indie films like ‘Bad Girl’, ‘Homebound’, and ‘Humans in the Loop’. This shows that Indian cinema has always had incredible voices, and now the world is starting to recognise and celebrate them. It’s not about Bollywood versus regional, it’s about acknowledging the talent that has always been here and giving it the space it deserves.
