In Arindam Sil’s Korpur, Rituparna Sengupta captivates with a performance that moves fluidly between authority and vulnerability, gradually dissolving into a haunting silence. Her character, Moushumi Sen, draws inspiration from the real-life story of Manisha Mukherjee, a Calcutta University official who mysteriously disappeared in the late 1990s. From the commanding presence of a woman ascending the ranks of power to the quiet fragility of someone overtaken by circumstance, Rituparna delivers a deeply affecting portrayal. Much of her performance rests in her eyes — expressive, restrained, and profoundly evocative —conveying a spectrum of emotions with a sincerity that anchors the narrative.

She guides the audience through Moushumi’s journey, from ascent to decline, with a quiet intensity that is both compelling and unsettling. The silence she inhabits in the film lingers long after the credits roll, echoing the unresolved tensions at its core. As Korpur completes a month in theatres and expands its reach to a wider national audience since last Friday, t2 sat down with Rituparna Sengupta for a conversation.

What initially attracted you to the character of Moushumi Sen?

Moushumi Sen looked like a rare performance to me. I chose this role primarily for its potential as a pure performance piece. The finer details about the film’s broader themes came later. At this stage in my career, I seek out roles that are thought-provoking, intricate, and ultimately completely challenging— roles that require a transformation or a makeover to truly connect with them. I had a strong intuition that Moushumi Sen was that character for me; she’s both bittersweet and bewitching. There’s a coarseness, vulnerability, mystery, power, and helplessness about her. The creative discussions on the character began at our homes, and then we turned to Dipanwita Roy’s novel, which shifted our perspective. Dipanwita Roy has done an incredible job in writing this character.

In what ways did the character satisfy or challenge you as an actor, and how did you approach understanding her psyche?

The blend of thriller elements intertwined with a woman’s trauma and turmoil really excited me. I play a pivotal role in the story— the gravitational force — bringing everyone together around my character. I’m drawn to characters that test me and push my limits, making me feel the weight of the role. Moushumi Sen grapples with both external and internal pressures, her agonies, and countless unanswered questions that add layers and depth to her. These conflicting pressures make her feel very real, flesh and blood, and multifaceted.

I prefer roles that are not straightforward; instead, I’m interested in those that create a sense of disturbance. Moushumi’s character has the ability to disrupt and disturb people’s perceptions, leaving them completely unnerved, while the dynamics with supporting characters evolve in intriguing ways throughout the film.

This is your second film with Arindam Sil. What is the actor-director chemistry with him like?

Yes, my first film with him was Maayakumari. As a filmmaker, he is wonderfully strong and confident. His preparation and research are truly impressive. He has always conveyed to me that he wants to create a strong character for me — something memorable. I believe Korpur has set the stage for me to be seen in a new light. He pushed me to discover Moushumi from within, focusing on everything from my voice to my body language and demeanour. I aim to align with my director’s vision in all my films, and with Moushumi, I thought there was potential for creating a unique impression that I hadn’t encountered before.

As a longtime friend and co-actor, our chemistry has always been strong. He’s quite expressive when he wants something, and he’s definitely a taskmaster. In those moments, I fall in line as an obedient actor, the same as I do with any director. Outside of work, we’re family friends; his wife Shukla is lovely, and we often share laughs together over various topics. Interestingly, Arindam also acted in this film alongside me, portraying an intriguing character.

You both have a very specific and detail-oriented approach. Did that enhance your performance as an actor in the film?

Absolutely! I truly believe that our perfectionism contributes significantly to our craft. Achieving the perfect shot and maintaining a clear vision is essential for delivering an authentic portrayal. We aim to embody the characters as deeply as possible, and Moushumi Sen presented a different and difficult graph to navigate.

Did you have any particular reference to become the character?

I didn’t have a particular reference in mind. Since the film is set in the 1990s, my main source of reference was the book itself and Arindam’s narration, which helped shape my understanding of my character. The incident inspired the novel, but I was somewhat unaware of the incident as it was in the 1990s when I was ending college and beginning my career. And we didn’t have social media at that point to be updated about everything.

The cast featured a diverse group of people as actors in the film. What was your experience like on set?

It was incredible to be surrounded by such great actors like Bratya Basu and Rumki Chatterjee and Shaheb (Chattopadhyay), along with many prominent figures from the theatre scene. Kunal Ghosh was a revelation, and the audience will also discover Lahoma (Bhattacharya) in a new light in the film. She looks so beautiful and has given her best to make her presence felt. I am very happy for her. Arpan (Ghoshal) has also done a fantastic job with his character. Working in a large ensemble cast of 57 actors across almost 58 locations made the visual dynamics of the film both interesting and authentic.

Which location stood out for you during filming?

Calcutta is depicted in a fresh and captivating way, showcasing its charming alleys and vibrant streets, in this film. I found the roads of North Calcutta particularly fascinating, as well as the nostalgia of Dalhousie, Park Street, and Esplanade!

Rain plays a significant role in the film. Are there any specific challenges for an actor in shooting a rain sequence?

For me, no! Rain has always fascinated me. It adds a layer of sensitivity, especially during serious moments in a film. The drama and passion are intensified when nature intervenes! Throughout my career, I’ve had the pleasure of working on many memorable rain sequences. In fact, most of my earlier commercial films featured a rain dance scene that exuded sensuality. I recall those moments vividly— dressed in a flowing white sari with silver bangles, performing enchanting dances in films from Calcutta and Bangladesh; those were often highlights of the films. One of my early hits was a sensual song with Chiranjeet in Lal Pan Bibi, which featured the unforgettable track Premero ayenate mukh dekhe. I also remember striking rain sequences with Nigiil Akkaraa in Muktodhara, and one notably took place in Shah Jahan Regency. And I am very excited about the rain scenes in the upcoming Gajoner Dhulobali directed by Indrasis Acharya. There’s something about rain sequences that injects extra energy into the scenes!

Your releases since last year have featured you in a diverse range of characters. How do you select your scripts now?

I crave variety in my roles and want to explore extremes. I’m eager to dive into characters that are unfamiliar and uncharted for me. It’s essential for me to present aspects of Rituparna that have yet to be uncovered. I aim for scripts that offer opportunities I haven’t explored before — path-breaking roles that will resonate with my audience, who have supported me for over 30 years and are eager to see me in new iterations. Their willingness is my willpower.