Executive Producer Deepti Chawla reflects on her journey through global filmmaking, her latest success at Cannes, and the future of Indian cinema at international festivals with Inflixious Content & Art. Shantanu Ray Chaudhuri speaks to her…

In this exclusive interview, seasoned Executive Producer Deepti Chawla, who spearheaded The Shameless, winner at Cannes 2024, discusses her twenty-year journey in the entertainment industry. From producing acclaimed films like 1971: Prisoners of War to launching Inflixious Content & Art, Deepti shares insights into the challenges of Indian cinema at international festivals, the intricacies of creative producing, and her vision for global storytelling. Discover her thoughts on cinematic trends, character-driven narratives, and how to successfully navigate the world of film production.

Building a Career in Creative Producing and Content Development

I first met Deepti Chawla when she was starting out in life and in audio-visual media, and I was on my way out of my decade-long stint in finance and accounts, also trying to make my way into media. Like many of us who venture into filmmaking, our first experiences in the field in Delhi involved getting somewhat conned. However, the experience blossomed into a friendship that has lasted over thirty years, as she moved to Mumbai for a course at XIC. I followed a year later.

What appealed to me even at the time was her gung-ho confidence and sunny disposition. I always thought of her as ‘she of the hilarious PJs’ – sample her joke on a staircase morphing into a desert vis-à-vis “Baithe baithe jeeney ka sahara ho gaya” or her cutting takedown of my official visiting card: “Those who cannot leave an impression, leave their visiting cards.” I have never been able to hand out a card in thirty years without this line echoing in my ears.

Over the years, even as I made my way into publishing, Deepti went on to become a seasoned executive producer and creative force. She has over twenty years of diverse experience in creative producing and content development. Deepti’s illustrious career spans top studios such as Disney India, Viacom 18, and the National Film Development Corporation (NFDC), where she has led creative divisions and overseen the release of over twenty films. Her portfolio includes a variety of roles in producing, directing, and writing across different formats.

She also directed the award-winning short film Little Boy in 2008, which earned her the Indian Documentary Producers Association (IDPA) Award for Story and Screenplay. Her work includes prominent films like Hanuman 1 (animation), Little Zizou, Malaamaal Weekly, the National Award-winning 1971: Prisoners of War, Corporate, and international projects such as Ice Cream Shop Girl, American Sikh, Rematriation, and the critically acclaimed Mujib: The Making of a Nation by Shyam Benegal.

Deepti’s creative vision gravitates towards slice-of-life dramas, rom-coms, multi-layered character-driven narratives, and the film noir genre. She has also contributed to non-scripted formats, including a ten-part series for Richard Branson’s Virgin Comics in the UK. Her latest directorial project, a short film, is a compelling human survival drama in development, masterfully intertwining themes of empathy and resilience.

Basking in the glory of being the Executive Producer on the Cannes 2024-winning feature film The Shameless and the Associate Producer on the Annecy Grand Prix 2024-winning animated feature Sultana’s Dream, Deepti recently co-founded Inflixious Content & Art with Coburn Machado, a seasoned advertising producer. She spoke to me about her journey.

Shantanu Ray Chaudhuri: How did you come to be involved with The Shameless? Can you detail the process for us?

Deepti Chawla: I discovered the film during its post-production stage. There was a gap in financing that needed to be covered on a Hindi film made by a Bulgarian director. I thought that was interesting.

Shantanu Ray Chaudhuri: As a producer, what was your involvement like? What were you expected to do?

Deepti Chawla: We had to support the producers in finishing a film that could be showcased at big festivals. Also, once onboard, the Indian producer would strategize a domestic release owing to its language. Taiwan, France, Switzerland, and Bulgaria rights were already in place.

Trusting the Vision Despite Initial Doubts

Shantanu Ray Chaudhuri: You mentioned in a post that you probably would not have taken up the project if it had come to your table. Why, and what made you change your mind?

Deepti Chawla: If it had come at the script stage, I wouldn’t have been too sure. When you read a script this gritty and hard-hitting, you wonder if the audience would be uncomfortable or whether it would appeal to a larger audience. But once the film was shot and an edit was being worked on, my doubts were cleared. The film focused on the story and characters, characters so unique, and the romance so pure. The cinematography was a delight, the edit invoked tension and unease – exactly what I liked. When the script and the director’s vision materialized on screen, I realized this was a different kind of cinema, a hard-hitting story.

Shantanu Ray Chaudhuri: What do you think it was about the film that appealed to the jury at Cannes?

Deepti Chawla: I can’t say for sure. I think Konstantin’s honesty and his detailing of a foreign environment and language crafted in this film couldn’t go unnoticed. Characters like Anasuya are a discovery, something the jury likely saw as unique.

Shantanu Ray Chaudhuri: Were you expecting the reception and the award at Cannes? What was it like, and what was your first reaction?

Deepti Chawla: Well, the whole producer clan of The Shameless – by the way, there are four countries and over ten producers – laughed when I started telling them, ‘We are winning this film.’ I must have said it over ten times. They thought it was just ‘Deepti’s affirmation,’ but I knew the moment I saw the unfinished film that it was different. In Cannes, I spent a lot of time tracking each article, journalist, post, and buzz around The Shameless. People picked up on different details, and it made me more hopeful. When we won, it felt like my belief had come true.

The Journey and Challenges in the Industry

Shantanu Ray Chaudhuri: Would you call this the crowning achievement of your career? Could you take us through your work in the entertainment industry over the last twenty years, highlighting the highs and lows?

Deepti Chawla: I wouldn’t say ‘crowning,’ but definitely one of the fastest. I’m technically equipped to be a director, discovered for my writing work. I’ve produced, marketed, and greenlit over forty feature films in my studio career at Sahara, Viacom 18, and NFDC. Some highlights include winning a screenplay award for Little Boy, realigning Richard Attenborough’s Gandhi film deal during the pandemic, and bringing home the 4K Academy-restored print of Pather Panchali. Staying afloat in this industry can sometimes feel like the biggest accomplishment.

Shantanu Ray Chaudhuri: Why do you think Indian cinema often falls short at prestigious international film festivals? Do you or your organization have any plans to address this?

Deepti Chawla: It’s a complex issue, but a significant part of it is the difference in communication and approach to cinema itself. The expectations of world cinema can be quite different from the narrative styles in Indian films. Also, the support systems for films abroad, often backed by public funds, give them a leg up. Indian films mostly rely on private equity, and recovering investments quickly becomes a priority, leaving less room for long-term festival strategies. We need more institutional support and better communication to navigate these challenges.

Shantanu Ray Chaudhuri: Tell us about Inflixious Content & Art.

Deepti Chawla: This is something Coburn and I are passionate about. We want to create content that resonates deeply and stirs relatable emotions. We’re planning art residencies, exhibitions, and collaborations with artists, all with the goal of merging art and cinema to create content that entertains locally and resonates globally.