“Just stick with the boys.” This was the mantra given to Homebound writer-director Neeaj Ghaywan by acclaimed US filmmaker and executive producer Martin Scorsese.
The advice helped fundamentally shape Ghaywan’s Indian drama about two friends who strive to overcome religious and caste discrimination, and is India’s entry to the Academy Awards.
Inspired by a New York Times article, the original script featured more characters and bigger story arcs. But when Scorsese came on board after being introduced to the project by co-producer Melita Toscan Du Plantier, his recommendation was to focus on the two young men at the centre of the story and “get to the point faster”.
“Every filmmaker initially wants to stuff three films into one because you have so much to say,” says Ghaywan. “But when Mr Scorsese came on board, he said, ‘Make it crisper and sharper. We don’t need to see a lot of them having fun. We understand that they’re friends already.’
“During the edit, he would say the same thing: ‘Get to the point faster.’ He’s a legend and for him to do this completely selflessly is just beyond comprehension to me. I’m literally living the dream of all independent filmmakers.”
Scorsese’s guidance paid off as the film secured a coveted selection at Cannes, where it premiered in Un Certain Regard, and went on to play Toronto, Melbourne and Zurich. A gala screening took place on Thursday (December 4) at Marrakech, where Toscan Du Plantier is festival director.
“Melita was a producer of Masaan, which was Neeraj’s first feature,” says Homebound producer Karan Johar of Dharma Productions, one of India’s leading film production and distribution companies.
“We asked her to come on board because of her deep understanding of the world cinema audience. She has also known Marty for many years and he gave us so many valuable suggestions. He’s not just a fantastic storyteller and filmmaker but a true lover of cinema – of any language, any culture.”
The Oscar-winning director’s involvement was kept confidential during production, with the code name “bade papa” (elder patriarch) used by the few people who knew.
The bonhomie of the overlooked
Homebound marks the second feature of Ghaywan and 10 years since Masaan debuted at Cannes, where it won two awards including the Fipresci prize.
Shot over 43 days from October 2024, mainly in Bhopal, it stars Ishaan Khatter and Vishal Jethwa as two friends from a village in north India. Both from poor backgrounds, they attempt to land a coveted job in the police force in the face of discrimination and constant rejection. Their friendship strains as their desperation grows.
“It explores a side of India that is not usually seen,” says Ghaywan. “We’re talking about people where structures and institutions deny visibility to them, and when structures and institutions profit from their division, their shared humanity becomes the sole thing. We’re talking about connection being a strong form of resistance. It’s the bonhomie of the overlooked.”
The story also recreates the early days of the Covid pandemic but does not take aim at how the situation was handled in India. “My film is not anti-establishment, it’s a pro humanity film,” says the filmmaker. “Although we raise a lot of points that we want to talk about, it is said in a way that is not appealing for outrage or anarchy but demanding quiet introspection. It is asking and appealing for a dignified dialogue, even with the people that you don’t agree with.”
Johar agrees and says: “Every single person who watches Homebound should feel like it impacted or emotionally moved them, reacting to a film that deals with marginalised communities… and it does so in such a humane manner.
“It is a film that when you watch, you can feel the pain of your own privilege or feel very moved because you identify with the scenario of the film, or the lead characters in some way. That’s the reason we made the film.”
Acknowledging that it is not the usual brand of glossy Bollywood film, which often delivers bumper box office, Johar adds: “We made this film for pure passion purposes. We’re not looking at monetary gain or commercial viability. But we know that with time, this film will provide love and respect and be a legacy film for the ages. This is a film I want to think about three decades from now and feel proud of. That’s the reason why we decided to make the film.”
Oscar hopes
Despite being home to one of the world’s biggest film industries, India has yet to win an Oscar – something the Homebound filmmakers hope to change.
“We haven’t been nominated since Lagaan in 2001, so we haven’t had that glory for the last 24 years,” says Johar. “We can hope, we can pray, we can manifest it, but truth be told, this is such a competitive year with some real giants in this category. We just hope for the best.”
“It’s a huge responsibility that I carry on my shoulders for our country and for the cast, crew and everybody involved in the film,” says Ghaywan. “The slight imposter in me makes me not want to have expectations.”
“I screamed when we made it into Cannes,” Johar recalls. “If we made the shortlist, that would be as good as the Academy Award to me… and a nomination would mean the universe to us. But if I got the call to say we’d made the top five, I’d go numb or collapse. Perhaps both.”
India last made the shortlist for the 95th Academy Awards in 2023 with Pan Nalin’s Last Film Show. Prior to that, nominations were secured in 2001 with Lagaan, 1988 with Salaam Bombay! and 1957 with Mehboob Khan’s Mother India, the first time the country entered the category.
As for what Ghaywan does next, his producer shares some tough love. “I have told him that he cannot take a 10-year sabbatical again,” says Johar. “I’ve given him strict instructions that for the sake of cinephiles, audiences and fans like me that he’s got to get to the writing table. He’s got to get cracking. We enjoy this love and glory but move on.
“Our job as filmmakers is to keep telling more stories. Sometimes they’ll succeed, sometimes they won’t, but these large gaps add even more pressure. It’s my sole responsibility after this entire campaign is over to get Neeraj to go and write and hopefully direct his next film very soon.”
For the director, he is considering a move into genre. “I want to experiment a bit,” says Ghaywan. “The socialist in me wants me to work on stories of people that are often overlooked, exploring themes of identity, culture, sexuality, gender. These are the themes that are close to me and interpersonal dramas. But also don’t mind dabbling into genre – perhaps a thriller or horror. But not jump scare horror. It would be something emotional and visceral.”
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