Hansal Mehta’s filmmaking journey is a testament to his evolving voice in Indian cinema, marked by his ability to craft emotionally resonant stories with layered characters. From early commercial successes to more intimate, socially conscious films, Mehta’s work reflects a deep understanding of the complexities of human nature and the socio-political landscape. With films like Shahid, Aligarh, and Scam 1992, he has delved into real-life events with a commitment to authenticity and nuance. His latest work, The Buckingham Murders, signifies a new direction, blending a more mainstream appeal with the intricate storytelling he’s known for. Despite his commercial awareness, Mehta remains dedicated to telling meaningful stories that challenge both himself and his audience, ensuring each film stays true to the world it portrays. Excerpts from the interview:
‘The Buckingham Murders’ feels quite different from your previous work. What made you decide to create a more commercial film, if I can call it that?
Hansal Mehta: First of all, I need help understanding the difference between commercial and non-commercial films. For me, every film is commercial because it has to recover its cost. It needs to be made within budget and on time. Studios also won’t invest without ensuring a security blanket, and I never get into a film without that in place. Even a film like Faraaz had its digital rights secured. So, for me, every film is a commercial film. If by “commercial” you mean that it has a major star like Kareena Kapoor, then yes, that brings a wider audience than a film like Faraaz. But what appealed to me the most was the story itself—it’s a territory I hadn’t explored much before, a murder mystery, which was a refreshing change for me.
Yes, Kareena Kapoor is a superstar, but let me say, even if it’s a Hansal Mehta film, people will come to the theatre.
Hansal Mehta: Of course, but I’m realistic. The number of people who come for a Hansal Mehta film alone is far fewer than those who come to see Kareena Kapoor. I have no illusions about that.
What I admire about your work is how you craft nuanced characters, each one with their own story, even if they have minor roles. In The Buckingham Murders, every character, whether a child or a friend, has depth. Why is that important to you, and how do you do it?
Hansal Mehta: I don’t know exactly how I do it. The credit goes to my writers. I always tell them not to write characters in vain—each one must have an arc, some closure, or a backstory. It helps me as a director when I’m guiding actors. Especially in a film like The Buckingham Murders where there are multiple suspects and red herrings, giving depth to each character keeps the audience guessing and helps them understand the world these characters inhabit.
The film also touches on a few social issues without being preachy. Why was that important to include?
Hansal Mehta: That comes naturally to me. All my films have some level of social, economic, or political commentary. It’s not something I force; it reflects the world we live in. Today, no one is separated from their politics, economic situation, or societal status. My characters are shaped by these realities, and it helps ground the story in the times we live in.
I noticed while booking my ticket that the film was available in Hindi and Hinglish. Why was that choice important?
Hansal Mehta: The Hinglish version is the one with a mix of Hindi and English. The CBFC coined the term “Hinglish” after watching the film. They felt that, since the film had both languages, it needed that label. I wanted the film to be authentic to the cultural reality of London, where people speak a mix of Punjabi, Hindi, and English. While we did create a fully dubbed Hindi version for business reasons, it seems the Hinglish version has done better.
Your films often address complex social issues. How do you see your filmmaking evolving over the years?
Hansal Mehta: Every film teaches me something new. I try to challenge myself with each project. If I ever feel complacent, I know it’s time to step back. I like to explore new territory, both creatively and personally, through my films.
Does being so deeply immersed in your work take a toll on your mental health? How do you switch off?
Hansal Mehta: Honestly, it’s when I’m not working that my mental health suffers. I feel alive when I’m immersed in my stories. While I do get attached to my characters, I maintain a healthy work-life balance. I have a disciplined shooting schedule, make sure to rest, and take care of my health. It’s important for me and my crew.
How was it returning to theatres after focusing on OTT success?
Hansal Mehta: It’s funny—Faraaz actually released in theatres last year, but it was such a small release that people thought it went straight to OTT. When a film releases, I usually leave the city. I prefer to cut off from the noise because I believe films should be savored and reflected upon, not judged on opening weekend alone.
Do you take critics seriously?
Hansal Mehta: I don’t take critics seriously, but I do take criticism seriously. It’s important to reflect on it after some time has passed, not immediately when emotions are high.
After Shahid, your filmmaking style shifted significantly. What sparked that change?
Hansal Mehta: I think I was seeking validation from the mainstream, and when that didn’t come, I took time to reflect. I realized I wasn’t making films that reflected who I was. After taking some time away from filmmaking, I came back focused on telling stories from the heart.
Many of your films are based on true events. How do you balance staying non-judgmental while also being creative?
Hansal Mehta: Whether a story is based on fact or fiction, the most important thing is staying true to the characters and their world. If you’re honest in your exploration, the line between truth and fiction naturally blurs.
How do you see Indian cinema evolving, and what role do you want to play in that?
Hansal Mehta: I don’t see a revolution per se, but cinema is constantly evolving. I’m just happy to be part of it, adapting to change while staying true to my voice. The key is to keep chasing stories and dreams as if you’re just starting out.
Many films are being re-released these days. What’s your take on that?
Hansal Mehta: I think re-releases are great, especially for films that didn’t get their due in theatres. It’s a good way to let new audiences experience them. Unfortunately, I don’t have the resources to re-release my films, but I’ve moved on from them—they’re out there for people to find. A lot of money is required on re-releasing films.
We’re all eagerly waiting to see you work with Rajkummar Rao again. When is that happening?
Hansal Mehta: Rajkummar is an exceptionally talented actor and a close friend. We’re both looking for the right project to collaborate on again. It’ll happen when the time is right, and when we find something that feels special to both of us.
I hear you love cooking! How was it collaborating with Ranveer Brar? Did you two talk food between shots?
Hansal Mehta: (Laughs) Yes, we did talk about food quite a bit! Ranveer is very knowledgeable about it, and he would sometimes even cook for us on set. We were staying in small serviced apartments with kitchenettes, so cooking was a way for us to relax. It was a wonderful experience.