Vinta Nanda finds out about the artistry of two Vinay Shuklas, independent filmmakers with distinct voices – one Bollywood icon and the other documentary disruptor – whose works redefine Indian cinema’s storytelling boundaries across generations.   

The Tale of Two Vinay Shuklas unravels the careers of two Indian filmmakers—both named Vinay Shukla—who have shaped non-mainstream cinema in unique ways. One Vinay Shukla, an acclaimed Bollywood filmmaker, is known for the film Godmother and his exploration of feminist themes, while the other Vinay Shukla has made his mark in documentary cinema with An Insignificant Man and While We Watched, a hard-hitting profile of journalist Ravish Kumar. This article discovers their artistic journeys of creating narratives outside the commercial mainstream.

In a casual conversation with my friend Vinay Shukla, he opened up about an unusual conundrum: a namesake had emerged in the same field. A filmmaker with over five decades of experience, my friend is not only a renowned writer-director but also a contributor to Indian cinema with critically acclaimed works like Godmother, which won six National Film Awards. However, in recent years, a new filmmaker named Vinay Shukla has made waves, particularly with While We Watched, a documentary following journalist Ravish Kumar. And the resulting confusion is more than just an annoyance; it’s a genuine concern for a filmmaker whose legacy was built over a lifetime.

It can indeed be perplexing, even “crazily confusing,” to encounter two Vinay Shuklas in the world of Indian cinema. Both filmmakers have carved out niches in storytelling that challenge and provoke, though they belong to different eras and work in vastly distinct genres. The elder Shukla’s oeuvre is Bollywood-centric, deeply Indian in narrative style, and imbued with cultural nuance. Meanwhile, the younger Shukla’s work belongs to the political documentary space, often confronting harsh societal realities.

Vinay Shukla the First: The Bollywood Auteur

Our first Vinay Shukla emerged in the 1980s, an acclaimed scriptwriter and director who made a name with thought-provoking Bollywood films. Starting in radio plays and college theatre, he graduated from the Film and Television Institute of India (FTII) with a Gold Medal. Known for works that balance mainstream appeal with depth, he has worked on a range of projects—from commercial blockbusters to non-traditional dramas.

Perhaps his most iconic work is Godmother (1999), which portrays a fierce female gangster-politician, inspired by real-life figure Santokben Jadeja. The film starred Shabana Azmi, who won a National Award for her role, and received widespread acclaim for portraying the nuanced layers of Indian female agency. In addition to Godmother, he directed Mirch (2010), a witty, woman-centric narrative based on Panchatantra. He has been a mentor to budding filmmakers, holding workshops and teaching at FTII and other prestigious institutions.

So, if you’re looking for a Vinay Shukla tied to India’s rich cinematic traditions, a storyteller who brought us Godmother and bridged mainstream and progressive cinema, this is the one.

Vinay Shukla the Second: The Documentary Visionary

Fast-forward a couple of decades, and we meet the second Vinay Shukla, who is making an impact in documentary filmmaking. His entry into filmmaking began with the short Bureaucracy Sonata in 2011, a film about India’s Emergency period, before progressing to full-length documentaries. This Vinay collaborated with Khushboo Ranka on An Insignificant Man (2016), chronicling the anti-corruption movement and the formation of the Aam Aadmi Party.

His most celebrated work to date is While We Watched (2022), a powerful portrait of journalist Ravish Kumar. The film explores Kumar’s resilience against an increasingly hostile media climate in India. Told with a vérité style, While We Watched won the Amplify Voices award at TIFF, the Busan Cinephile Award, and the Peabody Award, propelling Shukla’s reputation on a global stage.

For those interested in raw, urgent narratives, the documentary Vinay Shukla is the filmmaker who doesn’t merely create; he disrupts.

An Overlapping Identity Crisis

Despite their differences, the two Shuklas find themselves caught in an identity overlap, which my friend finds frustrating. “As a filmmaker with over 50 years of work behind me, this is not trivial,” he shared. “This younger filmmaker shares my name, which can create confusion with an established artist.” He went on to explain how often he receives inquiries and congratulations about the younger Vinay’s work, particularly While We Watched. Even industry friends, like Anand Gandhi, have mistakenly reached out to him.

“One might question why anyone starting a career in filmmaking would choose to keep the same name when it’s bound to create confusion,” he remarked. “I attempted to reach out to my namesake directly, but he did not respond. I also sought assistance from Anand, who dismissed it with laughter. It’s a matter of professional identity, one that I’ve cultivated over a lifetime and am proud to own.”

Beyond the personal inconvenience, my friend worries that the blurring of their identities could impact his legacy. “As future generations look back on our work, this confusion could grow,” he noted, suggesting that film industry associations should take steps to protect the distinct identities of established filmmakers. “Preserving the achievements of longstanding artists should be a priority to prevent their legacy from being overshadowed.”

Two Vinays, One Passion for Cinema

Interestingly, both Vinays share an urge to tell impactful stories that challenge societal norms. The elder Vinay Shukla’s work embraces traditional Indian storytelling, with characters and narratives that mirror social and gender structures. In contrast, the younger Vinay’s work is immediate and activist-oriented, often telling raw, real-life stories of people battling power.

Both Vinays also contribute to the non-mainstream cinema landscape in India. The elder Vinay explored feminism through Bollywood in Godmother and Mirch, while the younger Vinay remains resolutely outside the commercial framework, addressing political narratives in a style rarely seen in Indian media.

Parting the Vinay Waters

For those attempting to distinguish between the two, here’s a quick guide:

• Seeking a Vinay Shukla with Bollywood ties, a legacy in mainstream Indian cinema, and films like Godmother? This is the elder auteur, who crafts layered, fictionalized tales with a social conscience.
• Looking for the Vinay Shukla of While We Watched, award-winning documentaries, and Peabody accolades? You’re in the territory of the younger documentary visionary, whose narratives are raw and politically charged.

If you find yourself in a predicament, wondering which Vinay to quote, review, or interview, knowing these distinctions can save you from a case of mistaken identity. Each Shukla, independent of the other, offers a unique contribution to Indian cinema.

In sharing my friend’s story, I hope that industry associations will recognize the importance of preserving the identities of established filmmakers. After all, each Vinay Shukla deserves his own distinct place in the world of cinema, unblurred by mistaken identities and enriched by his unique body of work.