The film Dear Maa marks Padmapriya Janakiraman’s second appearance in a Bengali film after Aparajita Tumi. Meanwhile, former model, actor and entrepreneur Shayan Munshi is back in Tolly after a gap of 10 years. In Dear Maa, the two actors own their characters and bring significant twists and turns to the story. A t2 chat...
Padmapriya, you have worked with Aniruddha Roy Chowdhury in Aparajita Tumi. Did you notice any change in him as a director in Dear Maa?
Padmapriya: I believe certain things or people are best left unchanged! What I appreciate about him is that he is a very honest storyteller.
Shayan, is this your first time working with him?
Shayan: He produced my second Bengali film, Ekti Tarar Khonje, so my association with him goes back a long way. I hadn’t had the chance to work with him on a film until this one because I had left Calcutta, except for a short film he did in California. It was wonderful working with him as a director in Dear Maa. Aniruddha creates films that are sensitive and filled with human emotions. He presents a slice of life but goes much deeper. Every director, actor, and human being evolves over time and matures in their own particular way. I haven’t seen all his films, but I’ve always been a fan of what he does.
What made you say ‘yes’ to the film?
Padmapriya: What attracted me to the film is that it emphasises on the fact that it’s not about holding on or letting go to define what belongs to me or doesn’t. I found that perspective unique.
Shayan: When I read my character, I felt he had many aspirational qualities, and understanding and compassion. On one side, it might seem he is blindly following his wife, but on the other, he shows a heart capable of accommodating the enormity of the situation while being her strength. Both our characters stir up the situation in the film a bit.
Padmapriya: Yes, we could be perceived as instigators of domestic turbulence. But it depends on perspective. I had my doubts about this, but Aniruddha explained beautifully that he doesn’t view us as bringing struggle to the family. The same situation, when treated differently, creates a different story.
The film focuses on motherhood and the theme of adoption. How do you both view these concepts?
Shayan: I can talk about parenthood. I believe it is the greatest gift of mankind. It is miraculous to be part of something that brings life into the world. Whether a child is adopted or naturally born, the feelings of being a parent remain the same; your care doesn’t change.
Padmapriya: Understanding comes with experience. I can share my perspective as a daughter. The relationship between a parent and child is the most intense and irreplaceable. You can have the biggest fight and vow never to return to your mother, but she is often the first person you go back to after a short time. The protectiveness of a parent and what they do to raise a child cannot be captured except through human love and empathy. It is extremely divine, complex, and unexplainable — yet it is the most unbreakable bond.
The characters in this film make different choices. At times, they may seem selfish. Have you ever had to make a difficult choice in life?
Padmapriya: Yes, all the characters in the film make choices that are neither right nor wrong. I think that’s the beauty of this film — it’s about owning those choices. We are an unconventional society, yet we often refuse to accept it. Inherently, we are all flawed. None of us is perfect, and that’s the beauty of life. Aniruddha loves exploring this theme, which I find very interesting. When I read about Shayan’s character, I was like, ‘Wow…’
Shayan: She’s still struggling with my name! (Everyone laughs)
Padmapriya: I get confused between “o” and “a” in Bengali names. Some say “Shayon,” and some say “Shayan!”
What did you call each other on set?
Padmapriya: We didn’t really have the opportunity to address each other by our real names on set.
Shayan: Yes, we spent a limited but intense time together on set, mainly staying in character. So we kept our character dynamics alive, along with our names. Ironically, I still call her character “Jhimli.” (Laughs)
Padmapriya: Regarding choices, there are moral judgments imposed not only on women but also on men. Aniruddha did not write Shayan’s character to conform to traditional Indian male stereotypes. The story centres around him so well; who decides what constitutes an unconventional choice? From our grandmothers and mothers to ourselves, we all make choices. Who sets the standard for what is conventional or not? Like Jaya’s character in the film— who decides that she is making a non-standard choice?
Shayan: I believe the concepts of right and wrong are very relative. Society has its own definitions of right and wrong, but that spectrum is quite broad. In life, we often face difficult decisions that may seem right from one perspective but could be viewed as completely wrong from another. So, should we follow what society dictates or trust our own hearts? I think that inner voice that guides us to make better choices ultimately brings us peace with the decisions we make, regardless of what they are. Every woman is entitled to make her own choices, just as every man is entitled to his. It’s important to recognise that women may not make choices in the same way or for the same reasons as men in similar situations. Right and wrong are personal prerogatives, and it’s not for us to judge others. The challenge is that we live in a very judgmental society.
Padmapriya: For me, working on set felt like a vacation. Coming to Calcutta after so long, being with the same people and crew, and reconnecting with friends was a heartwarming experience. It was a nice little walk down memory lane.
Shayan: When we’re on Tony’s set, the food is always fantastic. He doesn’t run the set like a military man; he’s particular about certain things, and everyone respects that. After a cut, the atmosphere turns lively with laughter and casual conversations.
Padmapriya: While everyone mentions food, for me, my connection with Tony has always revolved around conversations about our journeys as creative individuals and our insecurities. It’s surprisingly always been about that.
Padmapriya, will you only work with Tonyda in Bengali films?
Padmapriya: (Laughs) No, I would love to do more. I haven’t received offers from anyone else yet, but if I do, the project has to be competitive, and I need to see what my role is in the story. Coming from a land rich in storytelling, my expectations are quite high.
Shayan, can we say that Dear Maa marks your comeback to films?
Shayan: I hadn’t been in Calcutta for just over 10 years. My interest in Bengali films has always been limited to specific directors or certain styles of cinema that resonate with me. To be honest, mainstream Bengali cinema has never particularly impressed me; it’s just not my cup of tea. I’m not trying to be judgmental — it’s just not for me. That’s why I never pushed myself into that space. When I returned, I had no plans to re-enter the film industry. Now, I also run an eye hospital, which requires a lot of my time. However, Tony’s persuasive nature brought me back to the set. I know what to expect when working with him, even if my role isn’t central. I’ve never been attached to the concept of being a ‘hero,’ and in this film, I found a role that I truly enjoyed.
You both have similar backgrounds, coming from disciplined army families, a career in modelling, and then transitioning into acting. Did these experiences help you bond on set?
Padmapriya: No! I didn’t even know about his modelling career or army background until just now! (Both laugh)
Shayan: True! In fact, we first met at Tony’s house during workshops. From the start, I noticed her professionalism, combined with a congeniality that made collaboration enjoyable. We connected well on set, checking in with each other, trusting each other’s input, and allowing space for expression without overlapping or imposing. She made my job very easy. Non-verbal communication is essential for actors, and I found a great co-actor in her.
Padmapriya: I’ve had my own struggles with acting and the film industry in India. At the peak of my career, I dropped everything because I felt it was not why I entered cinema, and I pursued other interests. Eventually, I returned, and it was during this journey that I felt a connection with Shayan.
