For generations that have grown up on a potpourri of crossover films, filmmaker Gurinder Chadha needs no introduction. The director of the cult classic Bend It Like Beckham has spent decades telling stories of migration, belonging and cross-cultural identities. With her latest film Christmas Karma, the filmmaker continues her long-standing engagement with diaspora narratives. In this conversation, Chadha reflects on her journey into cinema and what it’s like to be an independent filmmaker.
The film, Christmas Karma, struggled to find backing initially. How difficult was that phase?
Independent filmmaking is struggling everywhere. And for stories rooted in the diaspora, it’s even harder to find belief and backing. So, it feels like a miracle to make a film even today. There were moments when the film felt impossible. Then, quite unexpectedly, I bumped into producer Anushka (Shah) at Cannes. I later sent her the script, and she immediately understood it from an Indian perspective. Their faith gave it a completely new life.
An adaptation of Dickens’ classic for modern audiences is a huge undertaking. What inspired you?
I’ve always loved It’s a Wonderful Life, which also draws from Dickens’ classic. Since Indian cinema has always had a good dose of emotions, I thought of revisiting A Christmas Carol, but with a slice of a real, raw chapter of history—the story of Indians who were expelled from Uganda in the 1970s and sent to England. The journey of Scrooge (played by Kunal Nayyar), one such refugee, is quite painful, but when he is redeemed, it’s incredibly rewarding.
During your growing-up years, was cinema always on your mind?
Not at all. I had this dream to be a long-distance lorry driver! I was fascinated by the idea of driving a big truck down open roads, being in charge of something so massive and getting whatever I wanted from the stores.
Cinema entered my life in layers. On British television, I watched a lot of English films and the old comedies. When it came to Indian films, my father would make us watch classics such as Mother India. I remember watching Purab Aur Paschim and feeling shocked by its portrayal of Indians in the West.
Much later, during an internship at a magazine in Delhi, I came across a paper on how women were represented in the Indian media. Once again, it was an eye-opening experience and changed the way I viewed cinema forever. That’s when I realised that I didn’t want to just watch films anymore; I wanted to get behind the camera, tell my own stories and also apply them to United Kingdom.
Christmas Karma has an extraordinary cast and music lineup. How integral was music to its soul?
It was amazing to work with Kunal Nayyar, Eva Longoria and the rest of the cast. Shaznay Lewis, who worked with me on Bend It Like Beckham, composed original music for this film too. We also had Anoushka Shankar, Panjabi MC and Malkit Singh, bringing a powerful cultural energy.
Do you have any favourites among the films you’ve directed?
I love to explore identities and bring cultures together, and every film that I have made has had many special moments.
Viceroy’s House is especially close to my heart. It was my way of exploring my grandparents’ Partition story, though it didn’t get the English release in India that I had hoped for. Bride and Prejudice was enormous fun too, especially filming those large family scenes.
What trends in cinema excite you the most today?
We’re at an interesting crossroads in cinema right now. New voices are finally finding platforms, and I hope that continues. I see myself as part of this diaspora genre, which has a unique cultural position. I’ve been fortunate to occupy this space, and I hope many more storytellers will now be able to express themselves without filters. It’s also good to see more documentaries being made today.
As a woman leader in a male-dominated industry, do you face many challenges?
There are definitely more women in Indian films now, which is wonderful to see. But the challenges remain, especially when it comes to funding and creative leadership. You constantly have to prove your relevance. Our perspectives are still not always seen as central, and that can be exhausting.
Any latest film that you enjoyed watching?
I really liked Homebound.
What advice would you give young filmmakers today?
Just know why you are doing it. Be absolutely clear about what you want to say. Stay on top of your story. For filmmakers like us, especially from the diaspora, getting a film made is often nothing short of a miracle. But that’s exactly why it’s worth pursuing.