PANAJI: An in-conversational workshop at the International Film Festival of India (IFFI) unfolded into a humorous, inspiring, and nostalgic experience as renowned actresses Suhasini Maniratnam and Khushboo Sundar reflected on key milestones from their cinematic journeys.
Held at Kala Academy in Panaji, the event opened with a warm felicitation of the speakers by film producer Ravi Kottarakkara.
The workshop transformed the venue into a space where craft, collaboration and cinematic memory converged. Titled “The Luminary Icons: Creative Bonds and Fierce Performances,” the session brought together two acclaimed actors who have lived and shaped cinema for decades, for a dynamic dialogue on the enduring art of performance.
Suhasini, with her trademark candour, began by laughing about the early days when people doubted she was related to Kamal Haasan. A trained cinematographer who can switch between lens and spotlight effortlessly, she eased into the heart of the conversation by asking Khushboo about her approach to art-house versus mainstream cinema.
Khushboo responded firmly that she makes no such distinction. Whether working with renowned parallel-cinema directors such as KG George or commercial filmmakers like P Vasu, she goes into every project as “soft clay,” ready to absorb the director’s vision. She recalled how director Bharathi Raja, noticing her real-life skills as a swimmer and horse rider, crafted a character to draw out those strengths, an example of the trust between director and actor.
Turning to the young actors in the room, Suhasini shifted the conversation to the unpredictable world of commercial cinema. She asked if Khushboo ever sensed a hit while hearing a story. To this, Khushboo cited the example of her blockbuster Chinnathambi, but also spoke candidly about films close to her heart, such as Captain Magal and Jathi Malli, that did not perform as expected. Every actor hopes for a successful film, she said, but the unpredictability of the box office remains a humbling constant.
Discussing the emotional spine of performance, Suhasini emphasised that actors inevitably bring fragments of their own selves into their characters. “Every scene is significant,” she said. “Begin each one as though you are beginning a new film.”
Khushboo added that her process often starts with imagining the character’s appearance and physicality, sharing an anecdote about being asked to wash off all makeup before a shot to preserve the authenticity of the director’s vision.
For aspiring actors in the audience, Suhasini stressed the importance of writing down dialogues in one’s native language and revisiting them repeatedly. Language, she noted, is often the first barrier an actor must overcome.
The session then unfolded into a rich exchange of experiences from sets across languages and decades. Khushboo recalled the challenges of her first Tamil film, where unfamiliarity with the language led to amusing, and occasionally embarrassing mistakes. She explained how she would write down both her dialogues and her co-actors’ cues in Hindi, to make sure that she performed well.
Suhasini recounted a complex Kannada dialogue that took 29 takes despite her experience, and played the scene on screen for the audience.
The two traded stories of nerves before big sets, forgetting lines in front of actor Mammootty, and the early intimidation that every actor quietly battles.
Suhasini also spoke of the precision of mentors such as actors Chiranjeevi and Vishnuvardhan, whose frank assessments strengthened her craft. She illustrated the power of non-verbal storytelling through a scene from Vanaprastham, performed with Mohanlal, explaining the subtleties of abhinaya.
She then demonstrated techniques for conveying shock, the importance of “hitting the mark” during a shot, and how micro-movements shape narrative clarity, offering a brief yet insightful on-stage masterclass.