There was a certain excitement in Priyanka Upendra's voice as she spoke about walking into Cannes with her film, September 21. For the actor, whose career spans more than 50 films across various languages, the film festival became a reminder of why she remains drawn to cinema.
“Cannes always intrigued me as a little girl. When I finally went there with September 21, it felt surreal. The kind of films screened there is different. There is glamour, but there is also serious cinema. Once you sit and watch those films, the experience changes you,” says Priyanka, adding, “The attention span of the audience amazed me. I didn't see them get distracted. They absorb sensitive films, and their reactions inspired me. Cannes ignites the fire in you as an actor and reminds you there is more to do.”
That renewed energy came her way with September 21, directed by 22-year-old filmmaker Karen Kshiti Suvarna. The film explores Alzheimer’s and caregiving for patients with the disease. Priyanka feels these themes are not discussed with enough honesty in India. While the Hindi version was released last week, the Kannada version is set to reach audiences this week.
For Priyanka, the role of Kamala marked a return to a subtle and restrained side of her craft. “A few Bengali films initially saw that subtle side of me,” she says. “But once I entered commercial cinema, everything became about glamour. I did attempt nuance in films like Devaki.”
September 21 has Priyanka sharing screen with Pravin Singh Sisodia, Amit Behl, Sachin Dilip Patekar, Vinnie R, Ricky Rudra, and Ajit Shidaye.
Priyanka admits that accepting the film wasn't an easy decision. “Working on September 21 was a little scary. I was overweight at that time, but I did fit into the role of a caretaker. I wanted to go all out for the character and yet, stay emotionally intact,” says the actor.
What surprised her was that a young filmmaker recognised something others had overlooked. “Apparently, Karen had watched Devaki. She wanted that grace and softness in Kamala, a woman who has gone through a lot, and you can see it in her eyes. She is not loud. I understood Kamala and wanted to bring Karen’s vision to life.”
The story resonated beyond performance. “I have seen Alzheimer’s around me. People know about it, but in India, we still do not talk enough about what families and patients go through. In the West, there is more awareness. Here, it often becomes an age-related issue hidden inside homes,” says Priyanka, adding, “Sixty or seventy is not the end of life. If people are healthy, they still have years ahead of them. These stories deserve empathy and understanding.”
Her preparation for Kamala grew from observation rather than transformation. “I did not want physical changes that felt artificial. I did not want darker makeup or anything exaggerated. Caretakers do not look a certain way. I wanted to remain natural and keep the focus on emotions.”
Priyanka credits Karen’s clarity for shaping the performance. “Everything started with a Zoom narration. She had the entire script in her mind and carried confidence. She showed me glimpses of her work, and I understood what she wanted,” says the actor, who asserts that working in September 21 validated her consistent trust in younger directors. "When I worked with Lohith on Mummy, he was also very young. This generation is technically advanced and has fresh ideas. Karen was never scared on set. She was very clear. I suggested small details, including a nose ring for Kamala, but we respected her vision and did not treat her like a little girl. That would never work. The whole crew was young, and I like that energy.”
Having spent so many years in cinema, Priyanka says she is guided less by image and more by impact. “For me, it is about the story and meaningful characters. Kamala is like an underdog. She performs her duty almost like dharma. September 21 was risky, but I wanted to tell this story. I want to experiment and keep telling better stories.”