What began as curiosity turned into a decade-long mission to expose one of India’s darkest and most silenced social realities — bride slavery. After rigorous research, emotional immersion, and unrelenting determination, Paro: The Untold Story of Bride Slavery was born. In a deeply personal and powerful conversation with The Pioneer, Trupti Bhoir opens up about the emotional toll of the film, the global impact it has created, and why she believes cinema has the power to not just reflect society — but transform it
Highlighted quote: If Salman Khan wears his sunglasses on the back of his collar, everyone follows. If a film like Sairat can inspire teenage rebellion, why can’t we use cinema to address real issues? India is not fully educated yet. Not everyone reads books. But everyone watches movies. That is why we as filmmakers have a responsibility. Cinema is a powerful tool — it has changed society and will continue to do so
Tejal Sinha
Actor, filmmaker and activist Trupti Bhoir is not someone who shies away from hard truths. With her latest film, Paro: The Untold Story of Bride Slavery, she not only brings to light a harrowing practice often buried in silence, but also ignites a nationwide conversation around it — from the red carpet of Cannes to the corridors of Indian ministries.
In a powerful continuation of her journey, Trupti returns to the Cannes Film Festival for a second year in a row, this time with a private screening of Paro, following the trailer launch at Cannes 2024. This rare back-to-back presence at one of the world’s most prestigious film festivals marks her as one of the few Indian women filmmakers to achieve this feat with the same project.
The seeds of Paro were sown over a decade ago, when Trupti came across a BBC and Al Jazeera documentary on bride slavery. “It just popped up randomly in my YouTube feed,” she recalls. “When I watched it, I was shocked. I couldn’t believe something like this was happening in our country. So, I began researching to find out if it was true—and the more I dug, the more horrifying it became.”
That initial shock soon turned into a fire. “I knew this was a story that had to be told. Not just told—but told truthfully, with care, with respect, and with rage.”
The journey of making Paro was anything but easy. “This film is challenging in every way,” says Trupti. “From the writing to the research, to convincing people to be part of a project like this.”
Bride slavery is an issue that many shy away from—even NGOs and locals were hesitant to engage. “People fear speaking up in areas like Mewat or Mevad,” she explains. “These are sensitive places with a lot of stigma attached. But I had to go there. I had to listen to the women. Every Paro has a different journey, a different pain. It was like collecting pearls—each story was unique.”
With Gajendra Vitthal Ahire, she co-wrote the script, drawing from her intense field research. “I don’t know how to write a screenplay the way he does,” she admits, “but I had the data, the experiences, and the stories. We discussed everything together, and what emerged is this beautiful, heartbreaking script.”
Capturing the reality of a Paro meant showcasing the landscapes she’s forced to traverse. “These women don’t stay in one place,” Trupti says. “They are married off multiple times. If the first husband is old and dies, the family re-marries her—just so she can’t claim any property. She keeps moving from village to village.”
To recreate this movement, the film was shot in multiple locations across Uttar Pradesh, Rajasthan, Agra, and more. “It was incredibly tough. The weather was freezing—2°C in UP—and I had to shoot in light clothes. Others had five or six layers on, but I was in costume. It was brutal,” she recounts.
Yet, she soldiered on. “I’ve always done tough roles. In Maaza Agadbam, I sat for five to six hours in prosthetic makeup. For me, tough has become a habit.”
Portraying the titular role was the most emotionally draining part of the process. “It was 1000% difficult,” she admits. “Living as Paro, absorbing her trauma—it affects your mental space. Even after pack-up, you don’t leave her behind.”
Trupti says that what keeps her up at night isn’t just the film—it’s the women behind the story. “The fire that I saw in their eyes, the pain I witnessed—it doesn’t let me sleep. That’s why this is more than a film. It’s a mission.”
Beyond cinema, Trupti’s activism continues through her NGO, Shelter Foundation. With backing from both the Ministry of Women and Child Development and the Ministry of Social Justice and Empowerment, she has been pushing for real policy change.
“These women have 6–12 children. They live in poverty, without marital rights. They aren’t seen as wives; they’re treated like property. But we’re fighting to change that,” she affirms. “We’ve already had joint meetings with both ministries, and the government is very supportive.”
The next step is legislation and rehabilitation. “We’re looking at special schemes for these women—so they can have food, shelter, and stand on their own feet.”
She thanks leaders like Yogi Adityanath ji and Avnish Awasthi ji for their belief in the cause. “When I met Awasthi ji, he immediately understood the gravity. He said no one had ever told this story before, and this would help the country realise what’s happening in the shadows.”
The reaction at Cannes 2025 was overwhelming. “People say the Marshadow screenings rarely have more than 10–12 attendees,” she smiles. “But for Paro, it was houseful. People stood and watched the film. No one walked out.”
Even more striking was the emotional response. “It wasn’t just women crying. Men cried—white, black, from every country. They were shocked not only that this happens in India, but that it’s happening globally—Afghanistan, China, Vietnam, even the US and Canada.”
After the screening, people were still talking about it. “For 3–4 days, I heard people mentioning Paro in hotel lobbies and on the streets. They kept asking where they could watch it. It was magical.”
The poster and trailer launch last year also saw incredible support. “Dr. Prakash Hinduja launched it. And the Queen Mother from Africa, who represents the UN, was there—she’s 78 and such a graceful presence. It meant a lot.”
Walking the red carpet at Cannes was a proud moment. “Everyone dreams of it,” Trupti says. “But we earned it. We made a good film. We took it there. And we got to walk where the world’s best artists have walked.”
Still, for her, the red carpet isn’t the peak—it’s the beginning. “Paro is the voice of countless silenced women. It’s not about me—it’s about them.”
Trupti believes cinema has immense influence over Indian society. “Trupti firmly believes in the power of cinema to influence society. “If Salman Khan wears his sunglasses on the back of his collar, everyone follows. If a film like Sairat can inspire teenage rebellion, why can’t we use cinema to address real issues? India is not fully educated yet. Not everyone reads books. But everyone watches movies. That is why we as filmmakers have a responsibility. Cinema is a powerful tool — it has changed society and will continue to do so.”
She is firm in her belief: “Paro is not just a film. It’s a mission. A movement. And if the government supports it sincerely, India will become a global example of what socially conscious cinema can achieve.”
India is still evolving, she adds. “Not everyone reads. But everyone watches movies. That’s why filmmakers must use cinema responsibly. It can trigger revolutions.” Trupti’s personal journey—from beautician to Cannes—is proof of her grit. “I’ve been defeated many times. But defeat taught me how to win,” she says.
“I’m still a struggler. But I will keep working, with determination and sincerity, till my last breath. I believe that if your intention is good, the universe will support you.”
