Babban or Babli moves through the wilderness, gripping a gun with pink-painted nails, swinging it over their shoulder, eyes scanning every corner. They’re a lifeguard in Uttarakhand’s Jim Corbett Tiger Reserve. Delhi-based filmmaker Neel Soni’s debut documentary, Babli by Night has been nominated for the 2025 BAFTA Student Award in the Documentary category. Filmed over four years, it follows Babban’s life in the forest: as a lifeguard, a transgender individual, and a person navigating the complex quest for acceptance in society, while grappling with an unexpected HIV diagnosis.
Soni first met Babban as a teenager while on a trek in Uttarakhand. “I saw this forest guard standing there in uniform, holding a gun, radiating this very authoritative vibe. But then, on an evening safari, I came back to see the same person dancing, wearing a salwar kameez. I was both intrigued and taken aback, because I’d never seen anything like that before,” he says.
Over the next few years, Soni spent time with Babban, understanding their story, their silence, their desire to be seen and heard. “Back then, I didn’t even know that I wanted to make a film. It was mutual. Babban wanted their story out there, and I wanted to tell it,” says Soni.
The documentary is emotional and sensitive, weaving Babban’s story with care and depth. Soni admits to questioning whether he was the right person to tell it — but says the key to doing it right was never treating Babban’s life as just material for a film. Instead, he approached the story as a friend, building trust slowly and intentionally over time. “Our relationship didn’t begin with me wanting to make a film. But over time, spending time with Babban helped me understand their story, how they feel about the world, and what they stand for,” says Soni.
The film’s title reflects Babban’s fluid identity: “They transform into a woman at night, stepping into this alter ego called Babli. So, they are Babban by day, and Babli — sometimes Bobby — by night, depending on which identity feels strongest at the moment.”
Nature heals
Babli by Night sheds light on the many issues transgender individuals face in our society — especially in rural settings — including transphobia, abuse, sexual violence, dehumanisation, illness, and, most of all, society’s inability to accept someone as they are. But the film consciously refuses to dwell in the struggles. It moves away from pain as the central lens, choosing instead to show that Babban is more than what they’ve endured.
“It’s not about glorifying trauma or turning someone’s life into a spectacle. We were never treading into the territory of sensationalism. Through Babban, we explore how nature holds and heals us.” He adds, “I want to show the hope that nature can bring — that even after everything, this person has found a way to live, to keep going, to be happy.”
This connection to healing is rooted in the wilderness of Jim Corbett. For Babban, the forest is a healer — a space where they felt truly free and accepted as both Babban and Babli. “There’s this feeling of being more yourself in the wild and there’s this vulnerability there that feels like both freedom and resilience,” says Soni. The forest becomes a surrogate for the acceptance and understanding that their family and society couldn’t easily provide.
Conditions and acceptance
The film subtly presents a striking juxtaposition throughout Babban’s life. Soni’s frames capture Babban working deep in the forest holding a commanding, authoritarian pose—one often read as traditionally masculine. They are the sole breadwinner of their family caring for their mother, sisters, and brothers after their father’s death.
Yet, the film also shows Babban embracing their femininity: painting their nails, picking out kurtis at the local store, cooking meals, and confidently instructing their coworkers in the kitchen. “It felt essential to show this duality because, without the masculinity Babban performs during the day, they don’t get access to the forest—that space of healing and escape,” says Soni. “They want to be Babli at night, eventually, during the day too—but their outlet and healing actually happen during the day, in the forest. Both identities are vital to the story. At its core, it reflects something universal—about embracing identity and sexuality as a spectrum.”
Despite being the family’s sole provider, Babban still struggles for acceptance — a reminder that society’s approval often comes with conditions. But Soni challenges this view: “Acceptance is subjective. It depends on who’s offering it, their values, and what they’ve been conditioned to believe.”
The film also opens with tension between Babban and their mother’s idea of acceptance. Babban longs to be seen for who they are, but the mother finds it wrong or unacceptable—though love remains. “There’s a lot of love and respect because Babban has supported the family for years. But when it comes to their identity, the family intentionally avoids the topic,” Soni points out. “You feel the bond, but also a boundary—the mother can’t, or won’t, fully see her child.” Yet Babban keeps showing up, standing by family despite rejection.
Behind the camera
The filmmaker says that telling Babban’s story has transformed him. “It opened my eyes and made me a more empathetic, sensitive human being. I started seeing my own life differently and reflecting on the stories I want to tell—and what kind of person I want to be.”
This year, he became the only Indian filmmaker nominated for the BAFTA Student Award in Documentary. “Representing India globally fills me with immense pride and gratitude. It validated five years of pouring myself into this film.” This recognition meant a lot to Babban too, who Soni still stays connected with. “It was hard to keep them updated during uncertain moments, but when the recognition came, it felt like everything finally shifted for both of us.”
Looking ahead he envisions a future in narrative filmmaking, free from genre limits. “Whether it’s a war story or a personal journey, my goal is to evoke genuine emotions in the audience.” Soni is currently writing a film slated for July, adding, “I’m focused on authentic storytelling and evolving as a filmmaker with each project,” he says in hopes of making films with lasting impact.