In the Company of a Master Storyteller: My Journey with Sudhir Mishra
Recently, my dear friend Sudhir Mishra took to Twitter to express his thoughts on the Netflix series Adolescence, questioning how it became the No.1 trending show in India despite, in his words, violating “every rule of bad scriptwriting”. His critique, as always, sparked discussions on storytelling, craft, and what truly makes good cinema.
PROJECT CONCEPT
This moment reminded me of the countless debates, late-night conversations, and film festival marathons we’ve shared over the past twenty years of friendship.
More than twenty years ago, I crossed paths with Sudhir Mishra, a name synonymous with parallel cinema—a filmmaker whose storytelling defies conventions and whose vision reshapes narratives. From bustling festival screenings to quiet moments of reflection, from heated arguments to laughter over the most unexpected things—this journey of camaraderie has been nothing short of enriching, inspiring, and deeply personal.
Sudhir, the mastermind behind masterpieces like “Hazaaron Khwaishein Aisi,” “Dharavi,” “Chameli,” “Yeh Saali Zindagi,” and of course my favourite “Yeh Woh Manzil To Nahin” has not only entertained but challenged perspectives through his cinema. His work is a testament to the power of storytelling that intertwines reality with raw emotions, often diving deep into the complexities of human nature and society.
Over the years, our friendship has thrived on sleepless nights filled with passionate debates, endless drinks, and unforgettable film festivals. Conversations that started over cinema often spiraled into discussions about life, politics, art, and everything in between. Each interaction with him has been a masterclass—an insight into the mind of a genius who breathes cinema.
As I look back on these two decades, I cherish the countless memories we’ve created and the wisdom I’ve gained simply by being around him. Here’s to a friend, a mentor, and a cinematic force who continues to redefine storytelling.
