Even before a single frame is shot, filmmaker Jaspal Singh Sandhu knows his films by heart. For him, cinema is not merely something that happens on set; it must first be imagined in full, detail by detail, emotion by emotion. And by the time the camera rolls, the story has already lived through countless rehearsals inside the minds of its makers.
His latest film, Vadh 2, reunites powerhouse performers Sanjay Mishra and Neena Gupta in an intense, layered crime thriller that places moral conflict above spectacle. The film, appreciated for its tension and emotionally driven storytelling, explores how a single act can ripple through lives, pushing ordinary people into extraordinary circumstances.
Sandhu calls it a “situational thriller”, one where drama grows naturally from the characters rather than from cinematic gimmicks.
Interestingly, Vadh 2 is not a conventional sequel. While Sandhu initially spent months trying to extend the narrative of Vadh, he eventually abandoned the idea of a direct continuation. Instead, he chose to build an entirely new world.
“Vadh should happen only once in a story,” he says. For him, certain emotional climaxes lose their power if repeated. The script itself went through multiple drafts before the team felt absolute conviction in it.
Improvisation, for Sandhu, is not something that happens on set—it happens during writing, rehearsals, and endless conversations. In fact, he narrated the story to Mishra months before the screenplay was fully locked. Once the script was finalised, the two reportedly spent six to seven hours dissecting it scene by scene. By the time the cameras roll, Sandhu says, “the film is already made in our minds.”
“It’s pure pulp fiction—completely original and fictional,” he says.
Sandhu first gained wide recognition with Vadh, a morally complex drama that established him as a filmmaker willing to explore uncomfortable emotional territory. The film’s restrained storytelling and grounded performances resonated strongly with audiences looking for substance over spectacle.
During the making of Vadh, he reportedly insisted on multiple rehearsals—not to heighten the drama but to reduce it. His goal was to strip away theatricality until the performances felt lived-in and real.
His collaboration with Gupta offers another glimpse into his working style. Sandhu openly acknowledges her strong personality. “And she should be,” he adds. When senior actors like Gupta trust a director, he says, they surrender completely to the vision. “They say, ‘Take what you want from us.’” That trust, according to Sandhu, is invaluable currency in filmmaking.
The director also credits his producer for creating an environment where storytelling comes first. “Yes, indeed, my producer is known for backing meaningful cinema. We’ve known each other for a long time, and this collaboration was easy to take forward. He’s incredibly supportive. Whenever I’m stuck, I discuss things with him and often walk away with fresh perspectives. I’m lucky to have producers and actors like this.”
Interestingly, despite the film industry’s long obsession with hero-driven cinema, Sandhu writes characters first and only later considers which actors might bring them to life. “Conviction is key,” he says. “If I believe an actor can do justice to the role, I go with them.”
For a filmmaker whose debut film already earned him an award, one might assume expectations weigh heavily. But Sandhu views success differently. “It’s not pressure; I feel like I have a responsibility. I follow a simple rule: keep your eyes on the tennis ball, and the scoreboard will rise. If I focus on awards, I’ll miss the craft. Audiences recognise honesty in filmmaking, and that’s what I aim for.”