HOMEBOUND © Dharma Productions Pvt Ltd
Homebound, as seen by Neeraj Ghaywan
Ten years after Masaan, Neeraj Ghaywan returns to Un Certain Regard with Homebound, a drama following two childhood friends from northern India who aspire to become police officers to escape their circumstances. But as their dream starts to becomes a reality, their friendship begins to falter.
Can you describe your method of working?
I believe in collaboration and having a democratic crew that is inherently inspired by the vision of the film. I try to align myself with people with similar values, politics and temperament to my own. Inclusivity is fundamental: I aim for every department to comprise of at least 50% women and I hire people from marginalized communities. I would rather train someone than have them miss out. I focus on a family-like atmosphere—shared hotels, mutual respect, and addressing everyone by their first name. Professional behavior is non-negotiable. I also appoint two points of contact (a man and a woman) to deal with any potential issues. For emotionally intense scenes, I use a system called “Code 360”—complete silence, appropriate ambient music, and minimal people on set. This helps promote a safe, focused and inspiring working environment.
Please share a few words about your cast.
If I were to make the film again, I’d choose the same cast, no question. They brought deep empathy and critical thinking to their roles. Ishaan is methodical, intuitive, and very sensitive. He often understood a scene before we even went through it. Vishal, as Chandan, authentically portrayed innocence drawn from his own experiences. Their friendship on screen came about naturally after spending time together. Janhvi Kapoor, who played Sudha, showed remarkable empathy. She read Annihilation of Caste, watched films like Rosetta and Three Colours: Blue, and did her own research. Her portrayal carried a genuine tenderness and moral clarity, both of which were essential. Even the supporting actors immersed themselves completely in their roles. What made this cast exceptional was the emotional authenticity that each cast member explored.
What did you learn during the course of making this film?
This film taught me humility, empathy, and patience. Casting showed me that actors need to be more than just talented, they need to be morally connected to their character. Fully immersing ourselves in the characters’ villages was a revelation: nothing can replace a lived experience. A simple meal shared in one of the villages moved me profoundly. They had very little material wealth, but so much humanity. It reminded me that to make a film is to shed light on other peoples’ realities, and this must be approached with respect. This film taught me that real storytelling is an act of listening, service, and gratitude.
What would you like people to take away from your film?
The importance of kindness and empathy—especially toward those who are different from us. Seeing others as equals. Rilke’s quote “No feeling is final” was central to this film. I hope the film leaves viewers with a sense of resilience, hope, and humanity.
What made you want to become a director?
I studied engineering, did an MBA, and worked in a company. But I was always drawn to storytelling. The turning point came when I saw Pather Panchali at the cinema. I realized that cinema could convey deep human truths. I couldn’t go to film school so I taught myself: writing reviews, watching films, studying directors. I worked on Gangs of Wasseypur. My influences are eclectic— Béla Tarr, the Dardenne brothers, Haneke, Ken Loach, Gulzar and more. I value stories where politics enriches the story without overshadowing it.
