Zoya Akhtar is known for her ‘out of the box’ films. From Zindagi Milegi Na Dobara to Gully Boy, Akhtar has some amazing directorial ventures credited to her name. Her web series Made in Heaven created a buzz in the world of OTT. She experiments without fear or filter. And that is what she continues to do with her latest project In Transit.
What made you want to step into the docu-storytelling format and support Ayesha Sood’s In Transit?
We began our journey into docu-storytelling with Angry Young Men. That’s where it started. The seed for In Transit was actually planted during Made in Heaven. Season 1 reflected a world we knew intimately, and the feedback we received—especially from the LGBTQI+ community was overwhelming and deeply moving. In Season 2, it was Alankrita Srivastava who conceptualised Meher, a pivotal character. Meher represented a woman navigating her own transitional journey. Reema and I immediately agreed with the idea, but we soon realised how little we actually knew about authentically writing such a character. We started interviewing women from the community. Through these conversations, it became clear that we needed to create a space where they could speak for themselves. That’s how the documentary took shape. Trinetra Haldar eventually played the role of Meher.
Tiger Baby is known for distinctive storytelling. What kind of engagement or reaction are you hoping In Transit will spark? Did anything during the process surprise or move you?
We don’t really seek stories with a message. We gravitate towards narratives that move us or make us think. Then we try to translate those feelings into a story. At some level, I think the intention is to dissolve the sense of “otherness” in the world. If someone watches In Transit and walks away with the realisation that this is just another human being who wants the same things they do—that would be the most meaningful impact for me. When I interviewed women for Made in Heaven, I wasn’t asking them about their whole lives. I was asking them about love, dating, what they want, how they’re treated. It was all for Meher’s character, but I found myself wanting to talk more, learn more. These are people who are part of our society, and yet we know so little about how they navigate it. That curiosity is what In Transit came out of.
How different was the creative process for In Transit, compared to your work in fiction films?
Every project has its own process. There are always elements that remain the same because that’s part of who you are as a storyteller. But when I direct, I’m deeply involved in a different way. With In Transit, and earlier with Superboys of Malegaon, I was the producer—so the journey was quite different. Whatever the role, you have to be excited. You need to know you can commit to it for years and you care enough to see it through. After all, what you create might outlive you. It becomes part of your legacy. So even if it’s light-hearted, it should have something to offer.
We’re seeing major shifts in film viewing habits today. As a filmmaker and viewer, how do you perceive the so-called “creative crisis” or decline in theatre-going?
That’s a larger conversation. The drop in theatre attendance is due to multiple factors. The pandemic accelerated streaming adoption and changed viewing habits. Then there’s the affordability factor. Multiplex ticket prices are simply too high for many families. But I genuinely believe in cinema. I don’t see it as an interchangeable experience. Watching something at home is a personal, often intimate act. Going to the theatre is communal—it’s about being immersed in something bigger than yourself. Every time a new medium arrives—TV, VHS, DVDs, streaming—people say cinema is dead. It’s cyclical. This is just another phase, and I believe it will change again.