The narrative of Lawho Gouranger Naam Rey, directed by Srijit Mukherji, unfolds across three timelines: the era of Chaitanya Mahaprabhu in the early 1500s; the world of legendary 19th-century theatre personality Nati Binodini; and a contemporary story rooted in filmmaking and memory. History is presented as echoes, revisited through recollections, stage performances and modern interpretations.

At the heart of the film lies one of Bengal’s most enduring mysteries, Chaitanya Mahaprabhu’s final days and his sudden disappearance in Puri. For centuries, theories surrounding Chaitanya’s disappearance, whether spiritual transcendence or a tragic accident, have captured the popular imagination. Lawho Gouranger Naam Rey explores these theories, letting questions linger rather than forcing conclusions.

Dibyojyoti Dutta steps into the role of Chaitanya Mahaprabhu. With a surprising physical resemblance and a serene presence, Dutta appears tailor-made for the role. During a recent chat with t2 on a winter evening, it became clear that his connection to the character runs deeper than costume and make-up. As he spoke about portraying the spiritual figure, there was a quiet sincerity in his words, almost as if the teachings of Sri Chaitanya had begun seeping into his own life. He admitted that embodying Chaitanya nudged him towards introspection and a more mindful way of living, blurring the line between performance and personal transformation.

Ishaa Saha, meanwhile, anchors the film firmly in the present. She plays Rai, a headstrong contemporary filmmaker determined to make a film on Sri Chaitanya’s disappearance into the sea at Puri. Through Rai, the narrative raises crucial questions about legacy and how we remember spiritual icons. Rai’s journey isn’t just about uncovering the past; it’s also about confronting indifference, scepticism and the challenges of preserving cultural memory in a distracted world.

Ironically, while Rai is driven to tell stories from behind the camera, Ishaa Saha, in real life, is happy staying in front of it. With a laugh, she admitted she’d rather leave directing to her character. Yet, her portrayal brings a sharp, restless energy to the film, someone who questions, probes and refuses to accept silence as an answer. A t2 chat...

How was the working experience with Srijit Mukherji for the first time for both of you?

Dibyojyoti: I grew up watching Srijit Mukherji’s films and seeing him collect the National Award. I was just a kid when I watched Autograph and Jaatishwar. So after the audition, and before stepping onto the floor for my very first film shoot, no matter how professional you try to be, all these thoughts naturally cross your mind. I was nervous, but excited too. We had heard that Srijitda could be a little stern on set, but he was nothing like that. He was serious, yes, but immensely dedicated. He truly lived and breathed the process of making the film.

Watching him work with such commitment was incredibly inspiring. For me, playing such an important role in my very first film was definitely intimidating. But I learned a lot from my director and my seniors, and I did the best I could to embody the character.
Ishaa: As an actor, I’ve always wanted to work with Srijitda. In the film, I play a headstrong filmmaker who also has a vulnerable personal life. Portraying a filmmaker in front of a filmmaker was both fun and deeply inspiring. The film also features some outstanding actors in key roles. It is a very special film for Srijitda; he himself has said that this is one of his best films, something he has been planning for years. Being a part of this film truly felt lucky and was incredibly inspiring.

A part of the film was shot in Puri. Any memorable moments from the shoot?

Ishaa: The experience was overwhelming in the best way. It was my first time in Puri, my first visit to the Jagannath Temple, and the very next day, I was on set shooting. It was truly an incredible experience.
Dibyojyoti: The entire shoot in Puri was incredibly enriching. We actually filmed inside the Jagannath Temple. It felt deeply spiritual and almost magical, as if everything was meant to be.

Ishaa, you play a filmmaker in this film. How did inhabiting the mind of someone who tells stories from behind the camera shape your approach to the role?

Playing a filmmaker was something very different for me after a long time. When I asked Srijitda whom I should take inspiration from, he said, “Tui amay dekhbi!” (laughs). That said, he also asked me to observe a few young directors. He wanted me to embody a young filmmaker who is driven to make honest, meaningful cinema, someone who doesn’t focus on surface beauty, but values intellect and depth, and is completely obsessed with this saint and his story.

Every actor was given a book on Chaitanya Mahaprabhu that detailed his life, teachings and contributions. There is so much to learn from it. That is exactly what my character, Rai, tries to convey through her dialogues, something the audience will hopefully connect with when they watch the film.

Dibyojyoti, could you tell us about the process of transformation — from the make-up to the inner preparation — that helped you step into the role of Chaitanya Mahaprabhu?

The journey with make-up was incredibly intense and transformative. I had to shave my head for real. Our make-up artist, Somnath Kundu, did an exceptional job. I also had to lose a significant amount of weight to achieve the frail, ascetic look of Mahaprabhu, especially since I was quite muscular earlier. To fully immerse myself in the character, I relied on three things: my script, Srijitda, and the book on Mahaprabhu that was given to each of us. Beyond that, every day before a scene, I would look at myself in the mirror and tell myself, “You are not Dibyajyoti. You are Chaitanya.” I would then pray, believing that I had given my 100 per cent and that the rest was in God’s hands.

Was there any moment you felt like a spiritual figure in real?

I didn’t feel like I became him, but I felt a deep sense of empathy for him. There’s a scene where he leaves behind the only thing left in his life — the place where he lived and meditated. In the scene, he steps out of that tiny room, walks for a moment, and then runs towards the sea, leaving everything behind. That was the moment when I truly felt sad for him.

What lessons or insights did the film offer you, especially since it draws from the life and philosophy of Chaitanya Mahaprabhu?

If you study the life of Chaitanya Mahaprabhu, you realise there is so much to learn, so much that you can never truly finish learning about him. While making this film and portraying him, I learned a great deal as well. One of the most powerful lessons was how love can overcome everything. Even in the face of conflict, love has the power to win. And often, what we expect in life doesn’t unfold in the way we imagine.

Which is your favourite song from the film?

Ishaa: I love all the songs in the film. The music beautifully captures the mood and the different timelines of the story, which makes it truly special. My favourite track is Shey chole geleo.
Dibyojyoti: There are many songs in the film, and I love each one of them. But if I had to choose, it would be Jagannath swami nayana pathagaami.

What are your winter favourites?

Ishaa: Colourful sweaters, Park Street strolls, indulging in pastries, mulled wine, and nolen gur.
Dibyojyoti: My mother’s home-cooked food is my all-season favourite. In winter, pithes are especially close to my heart. Another winter highlight is my sister baking Christmas special, zero-sugar cakes just for me. As for stepping out, I usually pick something from my wardrobe, but my sister helps me style it by showing me how to layer it properly.