Shahana Goswami is a critically acclaimed actress known for her nuanced performances. She began her film journey with ‘Yun Hota Toh Kya Hota’ (2006) and rose to fame with ‘Rock On!!’ (2008). Her latest film, ‘Santosh’, has earned nominations at the ‘BFI London Film Festival’ and ‘Cannes Film Festival’, further cementing her global recognition.
Speaking to Asian Voice, Shahana spoke about her experience in the role of Santosh, role of female led narratives in cinema and much more.
What drew you to the role of Santosh?
I found the writing absolutely spectacular—strong, powerful, subtle, and non-judgmental. The film beautifully captured the complexities of society, highlighting issues we often criticize yet actively participate in. What stood out was how these themes emerged naturally, without feeling forced, within a compelling fictional narrative. Santosh was not a one-dimensional hero but a deeply human character—flawed, searching, and evolving. Her journey, along with those of other characters, was explored with nuance, making it impossible to simply love or hate anyone. Just when you think you can judge, empathy creeps in, and that, to me, was the film’s greatest strength.
How was your experience working with Sandhya Suri? What was her vision for Santosh, and how did she help you bring depth and authenticity to your character?
Sandhya is a fantastic writer, and her script was incredibly detailed and clear in its vision. As a director with a documentary background, she has a sharp eye for realism, which I deeply appreciated. She ensured that every scene felt raw and authentic, only approving a take when it truly captured that essence. Her ability to fine-tune performances, guiding actors toward more layered expressions, was remarkable. Working with her was a great experience, and the incredible cast including Sunita Rajwar as well as first-timers—brought a unique authenticity that I could reflect and play off as an actor.
How did you prepare for the complexities of playing a woman navigating both personal loss and professional duty?
Like playing a cop, where our understanding often comes from films rather than real-life experience, this role required moving beyond preconceived notions. Observing real people in their daily lives helped me avoid playing off cinematic impressions. Since the story and characters were so realistically written, it pushed me to rely on my own observations of human nature. I realised that everyone’s responses and reactions are layered, shaped by their circumstances. This approach helped me replace judgment with empathy, seeking to understand why people behave the way they do rather than simply labelling them.
How do you see the role of female-led narratives evolving in cinema?
I grew up watching old Hindi films, often back-to-back, and I've seen how storytelling has evolved in cycles. Over the years, we've had strong, well-written female characters, but also periods of stereotyping for both men and women. Today, there’s a growing demand—both from creators and audiences—for more nuanced, authentic portrayals. While female-led stories have progressed, tokenism also exists, where films seem progressive but still follow outdated storytelling patterns. However, evolution requires both push and pull. Despite some box-ticking, the shift toward deeper, more layered narratives is happening, and I’m hopeful it will continue.
How do you think this film differs from other crime dramas, and what makes it stand out?
What sets this film apart is that it's not just a crying drama—it’s a slice of life, but with an investigative edge. It blends the mundane realities of society with a slow-burning thriller, keeping you curious without relying on fast-paced action. Unlike typical thrillers that clearly define good and evil, this story challenges moral perspectives, making you question which side you’re on. It masterfully intertwines everyday life with a compelling mystery, creating a unique and thought-provoking experience.
What conversations do you hope ‘Santosh’ sparks about gender roles and empowerment in law enforcement?
‘Santosh’ highlights deep systemic issues—both social and administrative—that are all interconnected. I see it as a reverse triangle, where large-scale problems ultimately stem from individual choices and behaviours. True systemic change begins at the individual level; if we continue to act out of fear, greed, and insecurity, the world will reflect that. My hope is that the film fosters self-reflection, making us aware of our own hypocrisies and contradictions. As Gandhi said, 'be the change you want to see'—change starts within us, creating a ripple effect that can reshape the world.
