Sukanya Gurav has never been a performer who chooses the safe route. Over a career that has moved between stage, television and the big screen, she has built a reputation for characters that carry real interior life rather than easy charm. So when she describes a film as "iconic", it is worth paying attention. In an exclusive conversation with Hindi Movie Buzz, Gurav opened up about Lagna Ani Barach Kahi, a project she believes stands apart precisely because of the women who shaped it, both in front of and behind the camera.
Asked what the experience of the film meant to her, Gurav did not reach for the usual promotional language. She called the project "iconic" in the truest sense of the word, explaining that a film led by women, made in large part by women, and centered on the inner lives of women occupies a rare place in the current landscape. For her, the label was not about scale or spectacle but about the perspective the film brings. "It is iconic because it treats women as complete people," she said, adding that a narrative built around female experience, told from the inside rather than explained from the outside, still feels like a departure.
The Character That Stood Apart
Much of the conversation circled back to Anita, the character Gurav says demanded more of her than many roles have. She was careful not to reveal plot specifics, but she was generous about what made Anita distinct. What drew her in, she said, was Anita's stubbornness about her own point of view. Here was a woman with a full life and opinions she had no interest in softening for anyone's comfort. Gurav described the writing as giving Anita the room to contradict herself, to be warm in one scene and prickly in the next, and to remain sympathetic without ever being sanitized.
"Anita doesn't perform goodness for the audience," Gurav said. "She simply is who she is, and the film never punishes her for it." That refusal to frame a woman's flaws as lessons to be corrected, she explained, was the single biggest reason the part spoke to her.
A Different Kind of Set
Gurav also spoke warmly about the atmosphere on set, describing a working environment where the rhythm of the day was set by women in creative and technical positions. She noted that this changed the small, ordinary details of filmmaking in ways audiences rarely see. Discussions about a scene began from the character's emotional reality rather than from how a moment would look on screen, and she said the collaboration felt unusually close to a shared language rather than a series of instructions.
That environment, according to Gurav, was not merely a workplace improvement. It was visible in the finished film, in the confidence with which it trusts its women to be complicated. The experience of making Lagna Ani Barach Kahi was, she said, one of the most fulfilling of her career, and she credited the collective of actors, writers and crew who approached the material with genuine conviction.
The conversation also touched on a quieter theme. Gurav observed that audiences have grown weary of stories that present women's lives as a single issue to be solved. What she hopes people take from the film is a set of characters who are allowed to want conflicting things at once, and who are neither celebrated nor condemned for it. For her, the film's honesty about ordinary compromises and small rebellions is the reason it will linger with viewers long after they leave the theatre.
She closed by describing her involvement in the film as a privilege rather than an assignment, and expressed hope that more projects will follow in its wake, giving women creators and performers the same freedom to tell stories on their own terms. Gurav's praise is not the loud kind, but it is the kind that arrives with a reason attached, and that makes it worth hearing.
Source: Filmibeat