Latest news with #ShahanaGoswami
Time of India
2 days ago
- Entertainment
- Time of India
Shahana Goswami praises Shah Rukh Khan's respectful nature and commitment to craft: 'He makes you feel seen...'
Shahana Goswami, praised for her strong performances, stars in 'Four Years Later', premiering July 11 on Lionsgate Play. She fondly recalls Shah Rukh Khan's dedication and respect while working together on ' (2011), a sci-fi superhero film exploring technology and family, featuring a stellar cast including Kareena Kapoor and Arjun Rampal. Shahana Goswami is known for delivering consistently strong performances, yet her talent has often been overlooked by mainstream Hindi cinema. Despite this, she continues to impress with some of the most powerful work of her career. Her latest project, 'Four Years Later', is an intense, relationship-focused drama set to premiere on July 11 on Lionsgate Play. In a recent interview, Shahana, who previously collaborated with Shah Rukh Khan in ' reflected on her experience working with the superstar. Impressions of Shah Rukh Khan's Dedication Speaking to Hindustan Times, Shahana shared that she had crossed paths with Shah Rukh Khan several times, especially before she left for Paris. She described him as impossible not to love—charming, intuitive, and incredibly creative. She recalled a moment during the filming of ' when Shah Rukh was rehearsing a scene alone on set after everyone else had left for a set change. She was deeply impressed by his dedication. Shahana also highlighted his respectful nature toward everyone, including child actors, noting that he makes people feel truly seen without any pretentiousness. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Free P2,000 GCash eGift UnionBank Credit Card Apply Now Undo According to her, this genuine presence is simply who he is. About the Film ' is a 2011 Indian sci-fi superhero film starring Shah Rukh Khan in dual roles as a video game designer and the heroic character The villain, a powerful AI, escapes the game into the real world, threatening the designer's son. The story follows their battle to stop and protect the family. Known for its advanced visual effects and action, the film explores themes of technology, family bonds, and good versus evil. Released on October 26, 2011, ' also stars Arjun Rampal , Kareena Kapoor, Armaan Verma and Shahana Goswami in pivotal roles.
Indian Express
2 days ago
- Entertainment
- Indian Express
‘Shah Rukh Khan makes you feel seen, rehearses a lot, and treats everyone with respect': Shahana Goswami
Shahana Goswami rarely hits a false note. Go through her filmography and you'll find one standout performance after another. With each role, she proves just how remarkably versatile she is. And yet, the more you explore her body of work, the more apparent it becomes how criminally underutilized she's been by mainstream Hindi cinema. Still, Goswami continues to deliver, consistently, doing some of the most affecting work of her career. Her latest is Four Years Later, a raw, relationship-driven drama that premieres on July 11 on Lionsgate Play. The series, which unfolds like a marriage story coded in heartbreak, also stars Akshay Ajit, who is equally devastating in his role. In an exclusive conversation with SCREEN, Shahana Goswami and Akshay Ajit open up about working on a story as emotionally sensitive as this one. They also break down key moments from the show and share a light-hearted aspiration: to one day co-star in a Karan Johar-style romantic comedy. Edited excerpts for clarity and brevity. Q: I watched the first two episodes last night, and I really liked the zoo sequence. That was such a powerful moment. I'd love to start with that. How was it shooting that scene? It's such a pivotal moment in the show, revealing so much about both characters. What can we expect going forward? And what kind of conversations did you all have before shooting it? Shahana: From the moment we read the scene, there were a lot of discussions. We did several readings with the showrunner. We really took the time to go through each scene in depth, specifically this one. What I loved about that zoo scene is that no one is being deliberately unkind. You can understand that Akshay's character is speaking from a perspective shaped by society and its norms. And my character suddenly realizes, despite the chemistry and pull she feels towards this person from another world, that her own fears and insecurities come rushing in. They're not intended, but they surface. It's her biggest fear, rooted in the reality of feeling trapped in a world where she can't fully be herself. Even while filming, I remember thinking, 'I hope it's clear why she walks away,' because on the surface it might feel abrupt. He apologizes immediately, but for her, it's not even about the apology. It's like, 'This isn't about being sorry, this is about us not being aligned.' Akshay: That scene was definitely tricky. We weren't sure if it would come through clearly. But judging by the response, some four million views on reels and thousands of comments, it clearly resonated. What's beautiful is that our intent is translated. Even something said with love, with care, can still come off as judgmental. Sometimes control can stem from love, like a parent who's overly protective. And that's where my character is coming from. He thinks what he's saying is natural. But he also realises that he's said something wrong. Q: That nuance really comes across. The tension is so tangible. What was it like building that chemistry? Because every time you two are on screen, there's this undercurrent of passion and conflict. Shahana: It actually took some time. When we first met, it wasn't like we instantly hit it off. I remember feeling quite awkward during our initial auditions. They made us do an impromptu scene, and in one bit, Akshay kept physically moving back, not because the character was supposed to, but because I think he felt awkward about the proximity. I was thinking, 'Oh no, how are we going to pull this off?' And I knew early on that the show would have intimate scenes, but we had an incredible support system, directors, writers, and even an intimacy coordinator from Australia. That made a huge difference. Akshay: Truly, the work put in by the coordinator really helped us. And we always intended the gaze to be very empathetic in those moments. That's probably why the scenes didn't feel sensationalized, but instead deeply emotional and sensitive. Q: Absolutely. I was speaking to Aastha Khanna, an intimacy coordinator, and she said that even now, when there is so much awareness of intimacy coordinators, many production houses still don't hire them, which is concerning. Shahana: Exactly. It's still not the norm, but it should be. Physical intimacy has its own language, and actors need the tools to communicate that safely on screen. Shared post on Time Q: I also really liked that small, seemingly trivial moment when you meet again at the hospital, right before the zoo scene, and you both go for chai. I noticed the chai vendor is named Shah Rukh, which was such a sweet little nod. Akshay: Yes! That was something we added ourselves. We realized he didn't have a name, and I said, 'Shouldn't he have a name?' So before the shoot, we both just started calling him Shah Rukh. It was our small tribute. Q: That really felt like an improvised choice. Shahana, you have worked with Shah Rukh in so what was that experience like? Shahana: Yes, we'd crossed paths before, especially during that phase before I left for Paris. He's impossible not to love, charming, intuitive, incredibly creative. I remember during there was this one scene he was rehearsing alone on set. Everyone else had left because of a set change, and he was just sitting there, quietly practicing. I was so struck by that. He treats everyone, even a child actor, with such respect. He makes you feel seen, but not in a pretentious way. It's just how he is, always fully present. Also Read | 'Nobody asks your caste or religion on a film set': Shahana Goswami Q: That's beautiful. And I heard you had a bit of a breakdown before starting your now widely acclaimed film Santosh? Shahana: Yes, the night before the shoot. Usually, the writing and conversations with the director help me build the character in the first few days. But before Santosh, I started doubting myself. I began comparing my process to other actors, those who read scripts 17 times, make extensive notes, and have a very methodical approach. I started thinking, 'Maybe I should do that too. Maybe I'm underprepared.' I had a long cry. I even thought, 'They've made a mistake casting me.' But then someone said, 'You've worked for 20 years. Maybe your process is your own.' And that helped me snap out of it. I tend to freeze under pressure, but that reminder helped me reclaim my rhythm. Q: And what's the status of Santosh now? Shahana: It's still stuck due to certification. Until we get that, we can't approach streaming platforms, or rather, we can, but most of them don't want to associate with anything potentially controversial. Executives don't want to get caught in legal messes. So things are in limbo, but we're hoping for a resolution soon. Q: Akshay, while watching this, I remembered you from 24: Season 2. That was for television. How different was that from working on this streaming series? Akshay: 24 was more physical, more action-oriented. This show is far more introspective and emotional. But in terms of preparation, my process doesn't change. I come from theatre, so whether it's stage, film, or streaming, it's the same commitment. Of course, in theatre, the body is the canvas. On stage, it's larger than life. But emotionally, the effort is the same across mediums. Q: Shahana, you've done so much OTT work, Bombay Begums, for example. But do you feel like streaming content has reached a saturation point? That it's starting to feel formulaic? Shahana: Yes, definitely. What once felt fresh is now being shaped by numbers, algorithms, and corporates that don't necessarily understand storytelling. That balance still exists in Hollywood. You see a Succession, or new voices breaking through. But here, a lot of creative people are stuck making what works, over and over. The problem is that creative decisions are being dictated by people who don't come from a creative space. Q: Lastly, what are your favorite relationship dramas, series or films, Indian or international? Shahana: Scenes from a Marriage, I thought that was incredible. Then there's Breaking the Waves, an extraordinary film about relationships. I also loved that film with multiple stories, one about a writer and a Spanish-speaking maid, I think it was Love Actually? Akshay: Yes, Love Actually is so good. Even When Harry Met Sally. But how can we not say DDLJ? Shahana: Even Rocky Aur Rani, I really loved. In fact, I so want to do a Karan Johar film. Akshay: Yeah, me too, man.
News18
3 days ago
- Entertainment
- News18
Smriti Irani's FIRST Look As Tulsi From Kyunki Saas Bhi Kabhi Bahu Thi 2 Revealed, Internet Reacts
More from movies EXCLUSIVE: Shahana Goswami & Akshay Ajit Singh On 'Four Years Later', Modern Dating & MORE | N18V Here's ALL You Need To Know About Sara Arjun Who Plays Ranveer Singh's Love Interest In Dhurandhar Soha Ali Khan, Kunal Khemu, Neha Dhupia & Angad Bedi Enjoy A Cosy Double Date Night | WATCH
The Hindu
16-05-2025
- Entertainment
- The Hindu
Watch: The Female Gaze: Redefining Cinema on the Global Stage
Filmmaker and actor Nandita Das, actor Shahana Goswami and director Jeo Baby discussed censorship and OTT platforms in the discussion titled 'The Female Gaze: Redefining Cinema on the Global Stage' at The Hindu Huddle 2025 moderated by The Hindu's Shilajit Mitra. Films that are being made in India now face three kinds of censorship, said Das. One is from the official body, then self-censorship and then there are some self-proclaimed custodians of culture, she said, adding that free speech is fundamental for any form or art, literature or expression to thrive. Malayalam cinema was one among the Indian film industries which received unprecedented pan-Indian attention since the pandemic period, thanks to OTTs. However, Baby pointed out that last year only 4-5 Malayalam films, among the 80-odd total movies produced by the industry, made it to OTT. Goswami, who acted in Santosh, which was banned by CBFC, noted that the hope was with the audience. Read more: Nandita Das, Shahana Goswami and Jeo Baby discuss censorship and OTT platforms
The Hindu
30-04-2025
- Entertainment
- The Hindu
The Huddle to have discussion on the many shades of womanhood on screen
It is a fascinating moment for Indian cinema. While acts of machismo still dominate the screen, Indian films, and film industries, are breaking out of their ingrained androcentrism. Across regions and languages, artists and directors—via nuanced, sensitive and lyrical explorations of the female experience—are broadening the boundaries of storytelling. And while women filmmakers and actors are at the forefront of this change, some of these films are also beautifully helmed by male directors and writers, transcending biases linked with artistic endeavour. For The Hindu Huddle, internationally acclaimed actor‑turned‑filmmaker Nandita Das (Manto, Zwigato), powerhouse performer Shahana Goswami (Santosh, Despatch) and visionary director-screenwriter Jeo Baby (The Great Indian Kitchen, Kaathal - The Core) sit down to discuss the many shades of womanhood and feminine power on screen. The session — The female gaze: Redefining cinema on the global stage — will be moderated by Shilajit Mitra, film critic of The Hindu. The Huddle, a marquee event of The Hindu Group, is to be held in Bengaluru on May 9 and 10. The speakers will delve into how the film industry, long shaped by patriarchal hierarchies, has, over time, seen women break barriers and assert their voice. But while women-led narratives are celebrated, is parity and acceptance being achieved? The discussion will also address issues of censorship and self-censorship. Films steeped in the politics of liberation — social, physical, sexual — often come under intense societal scrutiny. What, then, are the challenges of bringing these narratives to a wider audience? Finally, the conversation will consider the rising global recognition of gender-sensitive cinema out of India. Even as soft power narratives dominate, how is an alternative view of Indian cinema reaching the world? If you have any questions that you would like our moderator to ask the panelists, write to us at huddle@
