From crafting visionary films to building an inclusive filmmaking community, Kabeer Khurana redefines cinema as a mirror of society and a tool for transformation. Vinta Nanda speaks to him.

Photography: Vinta Nanda

Kabeer Khurana, a Mumbai-based, award-winning filmmaker, explores the transformative power of cinema through socially relevant narratives and boundary-pushing visual storytelling. Known for acclaimed films like Suttabaazi and The Pawn of Marottichal, he balances compelling content with innovative design. Founder of the Indie Film Circuit, Kabeer champions collaboration among 3,500+ filmmakers, redefining Indian independent cinema. As an educator, he inspires young storytellers while directing commercials and developing visionary projects like Songs of the Horizon. His work reflects a commitment to cinema as a medium of both artistic expression and societal change. 

In this candid and insightful interview, Vinta Nanda engages with Kabeer Khurana, a trailblazer in Indian independent cinema, to delve into his vision of filmmaking as a transformative force. Kabeer shares his philosophies shaped by luminaries like Dziga Vertov and Saeed Mirza, his groundbreaking cinematic journey, and the thriving community of filmmakers he nurtures through the Indie Film Circuit. From crafting socially resonant narratives to redefining visual storytelling, Kabeer’s passion for cinema emerges as a unifying medium for change and artistic innovation.  

Highlights

1. Revolutionary Filmmaking Vision: Drawing from mentors Dziga Vertov and Saeed Mirza, Kabeer Khurana views cinema as a mirror of society and a weapon for change.
2. The Indie Film Circuit: A thriving community of 3,500+ filmmakers, democratizing cinema through collaboration and breaking industry barriers.
3. Upcoming Projects: From The Pawn of Marottichal to Songs of the Horizon, Kabeer continues to craft impactful narratives while exploring experimental storytelling techniques.

What does cinema mean to you as an individual and also as a collective community of filmmakers that you’re driving through your efforts?

Russian Formalist Dziga Vertov once said that cinema can be either a mirror to reflect our times or a weapon to change them. This philosophy, deeply resonant for me, has been further shaped by the influence of my mentor Saeed Mirza. Together, they have instilled in me the belief that cinema is not just a medium of expression but a powerful tool to seek and unveil truths. This vision is embodied in the high-concept films I’ve created, each exploring profound and socially relevant themes. From the idea of unity in diversity in Project Oneness to the interrogation of ideological commitments and identity in ISM, the critique of religious dogmatism in Religion for Dummies, the exploration of karmic consciousness in Karma Cafe, the generational divide in Suttabaazi, the suffocation of conformism in Death in the City, and the story of rural transformation in my latest film, The Pawn of Marottichal (starring Dr Mohan Agashe)— these projects reflect my commitment to holding a mirror to society while imagining the possibility of change.

However, I am deeply conscious of the need to avoid becoming one-dimensional in my approach to cinema. My passion extends beyond content to a keen aesthetic sensibility, with a deep interest in pushing the boundaries of visual storytelling through innovative design, form, and technology. This sensibility is rooted in my lineage. My grandfather, Bhimsain, a pioneer of Indian animation, and my father, Kireet Khurana, who carried forward his legacy, have profoundly influenced my perspective as a visual thinker and filmmaker. Their guidance introduced me to the works of the 1970s Cartoon Film Unit and the Films Division of India, where artists like Pramod Pati, Ram Mohan, V.G. Samant, and Ezra Mir shaped my understanding of stylization, animation, and design thinking in film. Internationally, I’ve drawn inspiration from Norman McLaren, Walt Disney, Guillermo del Toro, Tim Burton, and the groundbreaking films of the National Film Board of Canada, where my father honed his craft after graduating from Sheridan College.  

Bringing these influences together, I define myself as a high-concept, socially driven filmmaker with a deep affinity for style, design, and visual grammar—a creative who strives to balance meaningful narratives with a bold and innovative cinematic language.

A few years ago, I founded the Indie Film Circuit, a thriving community of over 3,500 independent filmmakers and enthusiasts, with the vision of reshaping the landscape and future of Indian cinema. This initiative was born out of a recognition that our industry often suffers from deep-seated insecurity, fierce competition, and gatekeeping. The Indie Film Circuit seeks to challenge this status quo by democratizing the filmmaking process through the free sharing of connections and fostering a spirit of collaboration that breaks down entry barriers. After all, those at the top of the industry succeed by collaborating, not competing.

As the African proverb wisely says: If you want to go fast, go alone. If you want to go far, go together. A few years ago, I realized that the doors to the film industry don’t open from the inside—they must be unlocked from the outside. Inspired by Toni Morrison’s words, “If you’re free, your real job is to free someone else. If you’re empowered, your real job is to empower someone else,” this community has helped countless filmmakers bring their projects to life by connecting them with networks and collaborators they might otherwise never have found.

In addition, I lead The Nest, an extension of the Indie Film Circuit, which serves as a cultural hub for creatives to engage in meaningful conversations about cinema, art, poetry, philosophy, and literature. Mumbai, despite being a bustling metropolis, lacks a true cultural centre for interdisciplinary dialogue, and The Nest aims to fill that void, nurturing a vibrant community of thinkers and artists.

I also teach filmmaking at the University of Mumbai, where I view my role not just as an educator but as an enabler—mentoring and inspiring the next generation of film-literate storytellers. My goal is to empower these young creatives with the tools and confidence to tell stories that resonate while fostering a collaborative and inclusive ethos in their craft.

How does teaching filmmaking help you grow?

As Richard Bach famously said, “We teach best what we need to learn most.” I don’t see myself as a teacher but as a fellow student of cinema, constantly learning and growing through my interactions with my students. Many of them, despite their youth, are incredibly world-wise, bringing fresh perspectives that challenge and inspire me. My role is not to impose but to help shape their artistic voices so they can tell stories of depth, meaning, and consequence.

Rather than focusing solely on the craft of filmmaking, I emphasize the art—the soul behind the technique. My approach involves exposing students to the rich tapestry of cinematic movements that have shaped history, from the stark realism of Italian Neorealism and the experimental spirit of the French New Wave to the visual intensity of German Expressionism and the socially charged narratives of our own “Parallel Cinema Movement”. By delving into the philosophies that gave birth to these movements, I aim to spark curiosity and encourage students to develop a voice that is uniquely their own, enabling them to stand out in an industry often driven by formula.

I firmly believe that cinema is about everything but film itself. It’s about life, history, art, philosophy, and the humanities—disciplines that invite us to think deeper and question more. As Ritwik Kumar Ghatak once said, “You can learn all the techniques and read all the books on film, but to truly be a storyteller, you need to keep a bottle of whiskey in one pocket, and your childhood in the other.” The essence of this wisdom lies in prioritizing one’s authentic voice; the technical mastery will follow naturally. It is this philosophy that I strive to instil in my students: that their stories matter most and that their individuality as storytellers is their greatest strength.

What are your plans in the days ahead?

I recently completed two short films that are now ready for release. The first, Death in the City, explores the trappings of social conformism and features an exceptional cast including Jaaved Jaaferi, Raghav Diwan, and Rashi Mal. The second, The Pawn of Marottichal, stars Dr. Mohan Agashe and Maahir Mohiuddin. Set in a small, alcohol- riddled village in Kerala, the film tells the inspiring story of how chess was used as a transformative tool for social change. This short is also being developed into a feature film under the same name, produced by Humaramovie.

In addition, I am currently writing an independent film titled Lollypop. I’m also preparing to direct an experimental sci-fi short, Songs of the Horizon, which explores themes of music, philosophy, and the mysteries of the Earth's core. Each of these projects reflects my commitment to storytelling that is both thought-provoking and design-focussed.

Tell me a little more about the workshop you’re conducting on December 8th.

There are five foundational pillars in storytelling that shape a compelling narrative: Your voice, style, technique, emotion, and drama. Each pillar plays a unique role in crafting a story that resonates with audiences.

1. Voice is the essence of what you want to say. It reflects your perspective, values, and the unique message you bring to the table.
2. Style or Treatment is how you choose to say it. This is where your artistic expression comes alive, influencing everything from the story’s tone to its visual aesthetics.
3. Technique involves the craft of execution. It encompasses the skills, tools, and methods you employ to bring your story to life with precision.
4. Emotion speaks to the heart of your narrative, enabling your story to move, provoke, and connect with audiences on a deep, personal level.
5. Drama is the driving force of tension and conflict within your story, essential for engaging the viewer and keeping them invested in the journey.

In this workshop on Design Thinking in Visual Storytelling, we will dive deeply into one of these pillars — the style and treatment of storytelling. We will explore how to shape your story’s style to elevate its impact and capture the audience’s attention in a unique, memorable way.

To do this, we’ll look at various tools and techniques for developing a strong design language that can enhance the mood and tone of your story. We’ll examine how different art styles, cinematic techniques, and visual motifs can add layers of meaning, texture, and sophistication to your work. By experimenting with these elements, you’ll learn to tell your story with more poise, clarity, and creativity.

Whether it’s through color schemes that evoke specific emotions, lighting choices that create mood, or camera angles that emphasize drama, our goal is to equip you with a versatile set of stylistic tools. Ultimately, these tools will help you tell your stories in a way that is visually captivating, emotionally engaging, and deeply impactful.

THE WORKSHOP

VENUE: Slums of Bollywood, Versova

DATE: 8th December, 2024

TIME: 11am-6pm

FEES: Rs. 2000/-

MEDIUM OF INSTRUCTION: English

APPLY HERE: https://docs.google.com/forms/d/1QuU0nvUcjkv6xhAFH5jFWi_oQDIeYJUc6L8bVzP9jV0/edit?chromeless=1&fbclid=PAZXh0bgNhZW0CMTEAAaYGQqHS1PPFKDKqhxWqVsWTt4UVhICA6ML7afqURdOMgxAGsI272MJkcvw_aem_6vAZq4O_7MfHpF1RFs1aSg