Samik Roy Choudhury’s Maya Satya Bhram continues its international journey with a theatrical release in Dallas, Texas, marking yet another milestone for the Bengali philosophical thriller. After unveiling its trailer on a Times Square billboard and earning an official selection at the New York Indian Film Festival, the film has now reached American audiences through a commercial theatrical run, further expanding its global footprint. The film is currently being screened at the Texas Theatre with multiple scheduled shows. A t2 chat with director Samik Roy Choudhury and actor Soham Majumdar.
A theatrical release in the US is a significant milestone for an independent Bengali film. What does the Dallas release mean to you?
More than anything, it fills me with gratitude. Independent filmmaking is never the achievement of one person; it’s the result of years of belief, perseverance, and the collective effort of an entire team. This release belongs to every actor, technician, producer, and crew member who stood by the film. Personally, it represents years of struggle and the belief that stories rooted in our culture can travel beyond language and geography. If an audience sitting thousands of miles away can emotionally connect with a story born in Bengal, it reaffirms my faith that honest storytelling has no borders. At the same time, an international theatrical release brings greater responsibility. It reminds us that every film we make also serves as an ambassador for our cinema.
Have you received any feedback from American or diaspora audiences?
The response has been overwhelming, and in many ways, it is what led us to pursue a theatrical release in the United States. Over the past few months, Maya Satya Bhram has travelled to festivals including the New York Indian Film Festival, Bishkek International Film Festival, Third Eye Asian Film Festival in Mumbai, Montreal Independent Film Festival, and the Cannes Marché du Film. Across each of these platforms, the conversations with audiences have been deeply moving. It reaffirmed my belief that while the film is rooted in Bengal, its emotional and philosophical questions resonate across cultures.
One moment that has stayed with me happened after a screening in New York. A lady walked up to me with moist eyes, hugged me, and said, “You are a brutal filmmaker... but this film is important.” It was one of the most honest responses I have ever received. As filmmakers, we don’t expect everyone to agree with our work, but when a film evokes such an emotional reaction and stays with someone beyond the screening, it feels incredibly rewarding. Those interactions gave us the confidence to take the next step. The Dallas release is a continuation of that journey, and I’m excited to see how audiences there connect with the film and the conversations it hopes to inspire.
Does it feel symbolic to introduce the film to American audiences on July 4?
It wasn’t a date we deliberately chose. When our distributor in the US told me that July 4 would be the most suitable release date, I was genuinely surprised. Realising that the film would begin its theatrical journey on the 250th anniversary of American Independence made the coincidence feel even more meaningful.
Independence Day is a celebration of freedom, and in a way, every independent film is an expression of creative freedom. It represents years of conviction, persistence, and the courage to tell a story exactly the way you believe it should be told. I couldn’t have asked for a more symbolic beginning. To see Maya Satya Bhram embark on its international theatrical journey on a day that celebrates freedom felt like the perfect way to let the film find its own path and connect with audiences across cultures.
Looking back at the Times Square trailer launch, did that moment change the way you thought about the film’s global potential?
The idea of launching the trailer in Times Square actually came from our US distributor after they watched Maya Satya Bhram. Their confidence in the film gave us the courage to think beyond conventional promotional avenues, and I’m grateful they believed the film deserved that kind of introduction.
Of course, seeing the trailer of an independent Bengali film on one of the world’s most iconic screens was surreal. It wasn’t just about visibility; it was a reminder that stories rooted in our culture can find a place on the global stage. It made me realise that audiences are becoming increasingly open to authentic stories, regardless of the language they are told in.
Life has an interesting way of coming full circle. I began my career contributing to Hollywood films as a visual effects artist, and today, some of my former colleagues are watching a film that I directed in their own country. That thought is both humbling and deeply emotional.
At the same time, I have to admit I feel a little nervous. Maya Satya Bhram relies significantly on visual effects, and I know audiences with a strong filmmaking background will naturally pay close attention to that aspect of the film. The entire credit goes to Abhishek Ghorui and his team at Twilight Post, who have done a remarkable job bringing the film’s visual language to life. They predominantly work on Hollywood productions, and their experience and craftsmanship have been invaluable in realising the scale and ambition of Maya Satya Bhram.
More than anything, the Times Square launch reinforced one belief that cinema has never truly belonged to geography. If a story is honest and emotionally resonant, it can travel farther than we often imagine.
Do you believe international theatrical releases are becoming more attainable for Bengali cinema?
I believe they are becoming more attainable, but not automatically. Streaming platforms and global connectivity have made audiences more open to stories from different cultures. At the same time, international releases still require the right partners, distributors, and sustained efforts to build audiences. What gives me hope is that viewers today are increasingly choosing films that have compelling stories rather than the language they’re made in. If we continue to create authentic cinema rooted in universal emotional truths, Bengali films can certainly find a larger international audience, as they once did.
If audiences in Dallas walk away remembering just one thing about Maya Satya Bhram, what would you hope it is?
I hope they leave with questions rather than answers. Maya Satya Bhram isn’t a film that asks the audience to simply solve a mystery. It asks them to reflect on how they define truth, how belief shapes perception, and whether certainty is always possible. If someone walks out of the theatre still thinking about the film days later, discussing it with friends, or questioning their own assumptions, then I would feel that the film has achieved what it set out to do.
One of the biggest takeaways from our festival journey has been seeing audiences connect with the performances without knowing the actors beforehand. Soham Majumdar and Priyanka Sarkar are immensely popular among Bengali audiences, but viewers in New York, Bishkek, Montreal, and Cannes had no such reference point. They responded purely to the emotional truth of the characters. It reinforced my belief that while stardom may open doors, it is sincere storytelling and honest performances that travel across cultures.
Does this feel like a landmark moment?
Yes, of course. Finding an international audience for any film is definitely overwhelming.
Were you expecting Maya Satya Bhram to have this international journey?
Yes, I was. While shooting the film itself, I was confident that it had a global appeal at its core.
Do you think overseas audiences, especially the Bengali diaspora, are looking for stories that stay rooted in Bengal yet speak to universal emotions?
One thing I have stopped doing as a human being is trying to assume audience preferences. They are wise enough to know where to put their money.
Does an international theatrical release add a different kind of validation compared to a successful run at home?
I think we, as Indians, still live under the bubble of a certain colonial hangover. Hence, when our films are validated internationally, they naturally garner a tad bit more respect. Also, they have a beautiful way of curating such films. So, in short, yes, it does feel important.
As an actor, how does it feel to know that Maya Satya Bhram is now reaching audiences in Dallas after its festival run?
I mean, I don’t wish to sound pompous when I say this, but I feel Samik’s films deserve a global audience. While I am happy about the Dallas release, I am not entirely shocked, as anything less would have been a surprise.
Have you received any feedback from members of the Bengali diaspora or other viewers?
No, but a few independent directors got in touch with me after watching the film in New York and Bishkek, where our film primarily reached audiences. I, for one, have never been about personal glory; I am simply happy that the film is finding global appeal. There was also an almost 45-minute discussion with the jury at Bishkek about our film, which was truly an enriching experience. I got to hear perspectives that even I hadn’t thought about.
