In an exclusive chat with The Pioneer, Atul Sabharwal, the renowned director and screenwriter, opens up about his return as a jury member for the second edition of the jury of Red Lorry Film Festival, reflecting on his filmmaking journey and also urges emerging filmmakers to focus on cultivating creativity away from the distractions of social media
Atul Sabharwal, the acclaimed screenwriter and director, returns as a jury member for the second edition of the Jury for Red Lorry Film Festival, bringing with him an insightful and passionate perspective on cinema. Known for his thoughtful storytelling and masterful direction, Sabharwal’s involvement in the festival is driven by his love for diverse, untold stories and his desire to explore films that transcend borders.
Atul Sabharwal expressed his enthusiasm for being part of the jury at the film festival for a second consecutive year. He highlighted that the festival provides a rare opportunity to explore diverse films that might not be seen at other festivals. “What motivated me to take on this role was the opportunity to watch different kinds of films. Red Lorry’s selection last year was very different from other festivals,” the Berlin filmmaker explained adding, “Since I’ve received the screenings for this year as well, I can see that these films mostly were not there at other festivals. So, it’s my chance to watch these films, which I otherwise might not have gotten a chance to watch.”
He shared his hopes for this year’s festival, saying, “I’m just hoping that it continues the tradition of being a very organised festival, where people can interact in a warm, informal way, shedding the class divide that festivals unfortunately come to inhabit.”
When asked about the role of platforms like this festival in promoting international cinema, the Aurangzeb filmmaker emphasised their importance not only in promoting films but also in expanding cultural awareness. “I think it’s very important not just for the promotion of international films, but also it enhances our awareness.” He believes films have the power to transcend political borders and language barriers, helping viewers recognise shared emotions across cultures.
He cited the global success of Parasite by Bong Joon Ho as an example, saying, “Movies are these magical works of art that can transcend political borders and language barriers.” He also noted the reciprocal benefits of showcasing international films, which open new markets for filmmakers while offering fresh perspectives to local audiences. “Watching international films and having Indian films showcased abroad is a great chance for cross-pollination and bilateral business,” he said.
Reflecting on his role as a jury member, he acknowledged the expertise of his fellow jury members but emphasised his own passion for cinema. “I am watching the films as a film buff more than anything else,” he said. He explained that his enthusiasm for movies, rather than a purely technical or academic perspective, is what he hopes to bring to the panel. “I’ve now started watching the screenings as a film buff rather than a filmmaker,” added the Jubilee writer.
As a seasoned filmmaker with both writing and directing experience, he shared his approach to evaluating films in the competition segment. “I think only the emotional connect,” he said, focusing on how well a film resonates emotionally with him. He stressed the importance of experiencing a film as a whole rather than analysing it by departments like cinematography or writing. “If it impacts me emotionally in its first viewing, then that’s the quality I’m looking at,” he explained.
He further highlighted the importance of the first viewing experience, noting that it’s rare to find a film that leaves a strong emotional impression at first glance. “I’m just hoping these unknown bunch of films give me that,” he remarked.
His film Berlin, which is set against the backdrop of the Cold War era, draws from his own experiences growing up during that period. “I grew up in this period, so I saw a lot of Delhi visually in that period from my own eyes,” he explained. He mentioned how his exposure to Eastern European cinema and espionage novels helped form an emotional and visual connection between the city of Delhi and the world of Cold War-era espionage. “It just also sort of amalgamated itself into my head that it became a movie,” he said, reflecting on how these influences converged into his directorial project.
Looking back on his directorial debut with Aurangzeb in 2013, Sabharwal reflected on how his approach to filmmaking and storytelling has evolved over the years. “I think what I have learned to do is minimise my over-explanation and overstaying my welcome,” he noted. He revealed that he’s become more confident in letting the story breathe, focusing on pacing while still maintaining the emotional depth of his work. “I am now at a stage where my story moves at a much faster pace than it used to, but it also is told unhurriedly. It’s told with confidence,” he added.
In discussing the current trends in Indian cinema, the Class of ‘83 director shared his belief that the industry has stagnated rather than evolved. “I don’t think it’s evolving in any sense. The only time I felt that our cinema was evolving was in my first year in Bombay when I moved to join the film industry,” he reminisced, pointing to the early 2000s when films like Company, Lagaan and Dil Chahta Hai reshaped the industry. “That was the point I felt that something is evolving. I think as of now, we have de-evolved.”
He also discussed the cyclical nature of trends in culture and cinema, where periods of progress are often followed by regression. Despite this, he sees opportunities for filmmakers to be subversive and break from the mainstream. “As long as you have the desire to be subversive, you can find something which breaks the norm,” he remarked, highlighting how filmmakers can still push boundaries even in a landscape dominated by action-driven blockbusters.
Looking forward, Sabharwal expressed excitement about exploring themes of romance and family in his future projects. “The only genre that I’m excited to explore as of now is romance and family,” he said. He suggested that these themes might be incorporated into a variety of genres, whether espionage or action films, but emphasised that romance remains a central focus for him.
Sabharwal offered a piece of valuable advice to emerging filmmakers: “Stop watching reels. Make movies in your head,” he urged. He stressed the importance of developing a deep connection with creativity and story before jumping into the fast-paced world of social media. “We have started living our creativity in spurts, but we need to allow things to ferment and gestate inside us, then react to them,” he said, lamenting how the rush to instantly share thoughts on platforms like Twitter or Instagram can hinder creative development. He likened the current generation’s approach to creativity to a chef who only eats quick snacks like pani puri but never immerses themselves in the full process of culinary art. “You can’t become a great chef just by eating pani puri,” he quipped, suggesting that filmmakers must allow their emotions and ideas to build up before bringing them to life in the form of a film.
