Ujaan Ganguly has made his directorial debut with Kurukshetra, which is now streaming on Netflix. Visually captivating and intriguing in its narrative style, the series follows the stories of 18 warriors on the battlefield of Kurukshetra, spread over 18 episodes. Ujaan scripted and directed the series, while his father, filmmaker Kaushik Ganguly, brought his unparalleled creative vision to the project through his supervision. In a t2 chat, the father-son duo delves into the making, the future of animated films in Bengal, their legacy, and much more, ahead of the release of the second part of the series today:
Congratulations on the release of Kurukshetra, which marks your directorial debut. It currently holds the top spot among Netflix's recent releases. How did this opportunity come about?
The show was conceptualised by Anu Sikka from Tipping Point and JioHotstar. They came to Calcutta to work with Hi-Tech Animation, and were looking to connect with Gen Z writers who could offer a fresh perspective on The Mahabharata. I was the youngest on board!
Our goal was to retell the story of Kurukshetra in an intriguing way, and not The Mahabharata, as the narrative possibilities were endless. I began by writing the screenplay and dialogue. I laid out a clear vision of what I wanted to see on screen as a writer-director. As we progressed into pre-production for the first episode, I felt, for the first time, the joy that the role of director brings.
Can you recall your introduction to this epic?
For many of us, it was like a transmission of lore from our grandparents during evening tea, assembling vivid snippets of different events. Later, my parents narrated it to me, too. There was also the coveted copy of Amar Chitra Katha that never gathered dust! I read texts such as Tagore's Karna Kunti Shongbad much later, provoking an interest in subplots. Personally, I leaned more toward comics. As for the B.R. Chopra TV series, I didn't watch it as much as I heard about it — my baby cousin was passionate enough to recreate the theme song in our living room by taking off his T-shirt and swinging the gada!
In what ways do you think this retelling of the Kurukshetra episode will connect with modern audiences?
Right from the beginning, we were determined to ensure that even those unfamiliar with The Mahabharata or its characters could grasp the basic idea needed to understand the characters’ motivations. It’s nearly impossible to capture the full depth of emotions and character arcs within our limited episode length. Therefore, we consciously positioned this as a show focused on Kurukshetra. As creators, we’ve discussed the potential impact of our work. It’s gratifying to see the young audience all over the world engage with the storytelling dynamics, the action, and the drama. It’s important to dispel the misconception that animation is strictly for kids. One aspect I particularly enjoyed was presenting the story from 18 different perspectives over 18 episodes, offering a multifaceted narrative and an almost prismatic view. As Subrata Roy of Hi-Tech, emphasised, perspective is a key element of the show.
Which character's development intrigued you the most while writing the script?
Diving into Krishna's complex role in the war was definitely fascinating. However, Shikhandi truly captivated me. I hadn’t explored that character deeply before and was astonished to learn about his significant involvement. I always knew about Bhishma’s demise at the hands of Arjun’s arrows, but understanding how Shikhandi’s story unfolds across three lifetimes was enlightening. Amba and Shikhandini's prayer to Lord Shiva, wishing to be reborn as a man due to the ostracisation she endured as a woman, struck a deep chord. The evolution of that parallel narrative — narratively, poetically, and politically — was a standout for me.
Did you have concerns about audience engagement with the non-linear approach you chose to take?
We consciously embraced that challenge, aiming to weave everything together seamlessly in terms of motive. It was clear to us, and to me, especially from a writer's perspective, that to accurately represent the flow of events of the battlefield, we needed to revisit the past. Behind every sword being swung or an arrow being shot, there was the undercurrent of history. That is the essence of The Mahabharata.
How did you prepare to direct this animated series?
I seemed to fit right in since I've been sketching, drawing cartoons, and making graphic novellas since I was in school. As a child, doodling animated characters was my first entry point into understanding the nuances of expression. I worked with my associate director, Yogesh Kawale, to carefully map out the pacing of the visuals during the storyboarding, which was done based on the shot-by-shot visual descriptions in my script. We sought feedback from the studio and the producer review board throughout. Animation followed next, and we created concept art for each location, prop, or asset to ensure everything aligned perfectly.
On the other hand, my experience as an actor has allowed me to observe film production and its aesthetics quite intimately. Needless to say, conversations at home with my parents about various aspects of cinema have also been invaluable.
Is it the first time you’ve worked with your father in this capacity, where he is the creative supervisor and you are directing?
Yes, I wrote and directed the show while my father, like a creative supervisor, assembled the team. He invited Nrisingha Prasad Bhaduri to lead our creative research, and that continues to be a guidance I am grateful for. As early as the first episode, it became evident that our creative visions were aligning. I have closely seen and respected my father's handling of leadership while making his films, and that acted as a true blessing as a first-time director.
Do you ever feel weighed down by the thought of living up to a legacy?
I don’t really feel the pressure of legacy or the need to excel. For me, if I’m genuinely invested and committed to the story — whether as an actor, writer, or director, be it in animation or live action — that singular focus on storytelling becomes my main goal. If I can achieve that, I believe I'm making progress towards achieving that legacy. Speaking of which, my parents have very distinct styles and skills, and I feel I bring a different approach too. In that sense, I am starting from the foundation and the pressure is all mine.
What can viewers look forward to in the second part of Kurukshetra, premiering today, and what’s next for you?
We’ve covered a span of 15 days over nine episodes, and now we'll delve deeper into three intense days across the next nine. While the first nine episodes offered a telescopic view, this new phase scrutinises every motivation and action with a microscopic lens. Expect heightened emotional intensity, events from the war and crucial action sequences.
I’m also eager to explore more opportunities in animation. It's a blooming medium that excites me, especially since I’ve dreamed of working in animation since childhood. As for live-action projects, I’m optimistic about bringing my work to audiences soon.