Diganth is no stranger to curveballs, both in life and in cinema. A career marked by experimental subjects, physical injuries, and a quiet refusal to fit into mainstream moulds has made him one of Kannada cinema’s most consistent risk-takers. And his upcoming film, Edagaiye Apagathakke Karana (EAK), releasing on June 13, might just be his most personal yet.
The title, for Diganth, is more than a clever phrase — it’s almost a mirror. “The word in the title — Apagathake, which means an accident, instantly hits,” Diganth admits. “It points to different points in my life. I’ve had my fair share of those... accidents that change everything.”
Directed by debutant Samarth Kadkol, EAK explores a subject rarely touched in cinema: the world of left-handers. The film weaves sharp social commentary with moments of black comedy, touching on identity, conditioning, and the subtle struggles of being different.
“The moment I heard the concept, I said yes. A film about left-handers? That’s rare,” says Diganth. “Only 7–10% of the world is left-handed. However, in our society, many are forced to switch as children, simply because it’s perceived as wrong. I’ve watched a lot of global cinema — Hollywood, Korean, world films — and I’ve never seen this subject explored.”
Though a right-hander himself, Diganth fully committed to portraying a left-handed character — a process that was physically and mentally daunting. “Samarth told me — the minute I step on set, no right hand. So I started eating with my left, scrolling my phone left-handed, brushing... everything,” he says. “But 40 years of being right-handed doesn’t change overnight.”
One of the film’s most layered scenes has Diganth’s character — a left-hander — pretending to be a right-hander to blend in. “It was so meta and funny,” he laughs. “A right-hander playing a left-hander pretending to be right-handed.” But the humour came with a cost. Diganth was still recovering from a serious spinal injury during production.
“The shooting took time, and at one point, I had to shoot scenes right after recovering,” he explains, adding, “For the role, I had to use my left hand, which was still weak. My hand would drop suddenly. I couldn’t even lift it properly, and yet I had to look natural on camera.”
More than the physical toll, Diganth made an unusually personal decision -- he waived his fee when the film’s budget fell apart mid-production. “The producer backed out mid-shoot. I told Samarth, ‘Don’t worry about paying me. Just get the film made,” he says. “Eventually, Rajesh Keelambi, the producer of Shakahaari, stepped in, and Ravichandran AJ came on board to distribute it. But I was ready to finish the film without a paycheck. I believe in this story and I’m confident I’ll earn my share once the film does well.”
But why take that risk? “In Kannada cinema, we often see good stories get stuck in development hell due to money issues. I didn’t want that to happen here. EAK is special. We need to support films like this — because they just don’t get made otherwise.”
With close to two decades in the industry, Diganth has built a quiet, controversy-free space. But he’s also refreshingly honest about past failures.
“Bachelor Party should have worked. It had everything — a big production house, a good team. Even Powder had potential. But the issue was with the script. I’m just the actor — that’s the maker’s job,” he says.
He admits that the fallout from those films not working was immediate. “Some projects didn’t take off after that,” he admits. “But my belief in EAK is solid. I’m super positive that the film will be relatable. It might just remind people I’m still here — still doing different work.”
Diganth knows he has love from the public, but he also acknowledges the tricky equation between admiration and ticket sales. “I don’t have a hardcore fan club. But when the film is good, they come through word of mouth. That’s my only strategy. Let the work speak.”
His fascination with left-handers, it turns out, runs deeper than just the film. “I would’ve been a lefty — apparently, they’re very intelligent,” he jokes. “All the famous people are left-handers — Amitabh Bachchan, Vishnuvardhan… maybe I would’ve been more famous!”
But on a more serious note, he adds that the film challenges societal conditioning. “The film’s message is subtle, but it’s based on real research,” he says. “Forcing a child to switch from left to right hand can have long-term effects. Studies suggest that after the age of 25, it can impact their mental state. Parents need to stop doing that. Let kids be.”
As the conversation concludes, Diganth leaves us with a line that could very well be the film’s soul: “As actors, we all need to support good stories. Even if it means going left when life pulls you right.”