In Rohan Kanawade’s feature directorial debut, Sabar Bonda (Cactus Pears), the Marathi filmmaker tenderly portrays the blossoming connection between Anand (Bhushaan Manoj), a Mumbai-based man, and Balya (Suraaj Suman), a local farmer and childhood friend. Exploring themes of grief and social expectations during a 10-day mourning period in Maharashtra, the 112-minute social realist film chronicles the intricacies of a forbidden relationship.

Sabar Bonda won the Grand Jury Prize in the World Cinema Dramatic Competition at the 2025 Sundance Film Festival. In this interview, Kanawade opens up about personal experiences, the meticulous task of casting and the process of assembling ideal collaborators.

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Dipankar Sarkar: From being an interior designer to transitioning into filmmaking, what were some of the key challenges and discoveries along the way?

Rohan Kanawade: The biggest challenge was mastering the craft, as I had no formal training in filmmaking. In 2007, I began making films with friends, learning from mistakes and improving with each project. As I gained access to the internet, I watched interviews of directors and writers to understand their creative processes.

A DVD library in Mumbai, 70mm, provided me with two films daily. So that allowed me to watch a lot of world cinema, and since those were original DVDs, they included a special bonus section featuring the making of the film.  I would watch these before the films, deepening my understanding of the process. Later, I started reading screenplays before watching films. It allowed me to compare my imagined visuals with the director’s execution and learn from their choices.

While watching world cinema, I discovered that great filmmakers have distinct storytelling styles that cannot be easily replicated. This reinforced the importance of finding my voice. I also drew inspiration from real-life experiences, which unconsciously influenced my screenplays, making them more grounded.

Ultimately, my journey was about understanding and refining my craft. It took years — from my first short film in 2007 to my feature debut at Sundance in 2025 — to hone my skills and define my storytelling approach.

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DS: In your short film U for Usha (2019), a married woman discovers her affection for a local teacher, whereas in Cactus Pears (2025), a city-bred young man finds himself falling for his childhood friend.  Both films are set in rural Maharashtra and explore themes of love and connection. Was this a deliberate thematic link between the two projects? 

RK: It was not a deliberate choice. The idea for Sabar Bonda began in 2016 when I was grieving my father in my village. I often wished for a friend who knew about my sexuality, someone I could escape with, even briefly, to ease the pressure. That thought stayed with me and eventually evolved into a film, where I reimagined the experience as a tender journey for the character.

With U for Usha, I appreciate your interpretation, but for me, it was about discovering and embracing one’s sexuality without obstacles. I wanted to celebrate sexuality, as Usha gains independence through exploration. Her struggle to write her name was inspired by my mother’s experience. Being illiterate, my mother dismissed my father’s offer to teach her how to write her name — until a polling officer questioned why she still used a thumb impression. That moment pushed her to learn, and since then, she has signed her name, which I saw as a form of owning one’s identity. I incorporated this into U for Usha.

I never outline my stories before writing; I let ideas develop over time. When they reach a saturation point, they push me to write. Sabarbunda had been in my mind since 2016, while U for Usha took shape after Chhaya Kadam encouraged me to write a story. I begin with one scene, which leads to the next, discovering the story’s path as I write, even its ending remains unknown to me until it unfolds.

So, both films happened organically, without deliberate connections or conscious decisions. 

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DS: Long shots, slow burns and a deliberate pace, along with long pauses in the dialogue, create Sabar Bonda‘s rhythm. Why did you choose this approach to tell the story?

RK: As I said, the film is based on my experience, and I wanted to capture the essence of that time as authentically as possible. Since the film is about grief, I wanted it to reflect the slow, heavy passage of time. Being in the village amplified this feeling, as rural life itself moves at a slower pace.

Conversations during such moments, especially with loved ones, are not fast-paced. They have pauses and a natural rhythm. I wanted to preserve that authenticity in the film. My approach to filmmaking is simple: if something doesn’t feel real, it doesn’t belong in the film. I strive to create stories that feel like glimpses into real lives, and this naturalistic treatment became an essential part of the film.

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DS: In one of his conversations with Balya, Anand reveals that after he started earning a good salary, he informed his father about his decision not to get married. Moreover, he refuses to disclose his salary to one of the villagers. Does Anand’s financial independence define his sense of autonomy, and is it a key factor in shaping his character?

RK: Yes, that’s the point. When I came out to my father, I was already working, and I did it for different reasons. But I have heard many senior gay men advise younger ones to first become independent before coming out. Since family reactions can be uncertain, they suggest securing financial independence so that, even if the family doesn’t support them, they can still live on their own terms.

My partner also believed in this approach. He wanted to be independent before coming out to his family. It makes sense because independence brings confidence. I’ve seen many people follow this path. So yes, what you’re saying is correct. Anand’s financial independence gave him the courage to embrace his sexuality and live the way he wanted. His parents also contributed to that confidence. This is why, in the end, Balya says he wants to move to Mumbai — so he can learn, become independent and ensure that no one can force him into anything. That’s how life unfolds.

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DS: The temple door, once made of stone, has now been cemented. The twin mango trees are no longer there, and the dairy has been relocated. Farmers have sold their land and bulls to build brick houses. In this changing landscape of the village, do these transitions signify a broader shift in societal norms — one that enables Balya to embrace his sexual identity more freely? 

RK: I don’t think these changes have significantly shifted societal norms. In many villages, mindsets remain the same. When I was grieving my father in 2016, I noticed that villages had changed physically. Many people had built bungalows, including my uncle, who had demolished his old stone house. My cousin had become a well-known doctor in the area. But despite these developments, customs and traditions remain rigid.

For example, I wasn’t allowed to cremate my father because I was unmarried. I insisted and made sure I did it, but there were strict rules, such as I couldn’t wear slippers, and I had to follow all the rituals, as they believed it would bring peace to my father’s soul. They also pressured me to get married, reinforcing my doubts about how they would react if I came out. While I wasn’t deeply connected with my relatives, my mother was, and I didn’t want to create problems for her.

So, while villages are modernizing in some ways, certain mindsets remain unchanged. That’s likely why Balya hasn’t come out to his family yet. At the same time, not everyone is stuck in old beliefs. I know at least two people in the same region who came out to their families, and despite being from farming backgrounds, their families accepted them. Just like in cities, where not everyone is open-minded, the same is true for villages.

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DS: There are a few instances where the screen fades to black and the sound cuts out abruptly. How did you decide where and when to use them, and what role do they play in the overall narrative?

RK: As I’ve said, my writing process is largely unconscious and organic. When I finished the script and shared it with my producer, Neeraj Churi, we began working on it. He asked if we should specify the days within the film, but I hadn’t considered that. I hadn’t tracked the passage of time while writing and didn’t feel the need to include it. Even after completing the script, I never calculated how many days the story spanned.

However, during pre-production in mid-2023, my assistants, while scheduling, labeled each scene as “Story Day One,” “Story Day Two” and so on. When I saw this, I was surprised and asked what they meant. They explained that the story unfolded over 10 days. Initially, I didn’t believe them, but after checking, I realized they were right.

Later, during editing with my editor, Anadi Athaley, the initial rough cut felt too seamless and lacked an engaging rhythm. I wasn’t sure why until I recalled the 10-day structure. I suggested adding blackouts between each day, and as we refined the second cut, Anadi and others began to appreciate this approach. The blackouts created a natural pause before each new day, allowing the audience to absorb the previous day’s events, even if only for a few seconds. It mirrored the way people experience the transition from day to day. This simple addition brought a new rhythm to the film, making the structure more compelling. That’s how the blackouts became an integral part of the film.

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DS: The performances from Bhushaan Manoj, Suraaj Suman and Jayshri Jagtap are remarkably lifelike. How did you find your actors? 

RK: Casting for the film was a long process that took three years. We began in early 2021, and my casting director, Yugandar Deshpande, initially focused on finding the two boys and the mother before assembling the rest of the village cast. Finding the two leads was difficult, as many actors wouldn’t even turn up for auditions. Our selection was further narrowed by specific requirements. Usually, in films, village characters are portrayed with dark skin and city characters with light skin, but that’s not the reality. There are many fair-skinned people in villages as well, and I wanted to reflect that in the film. I wanted a realistic portrayal, avoiding stereotypically gym-toned men or overly polished looks. Balya had a lighter, tanned complexion, while Anand had a darker skin tone, reflecting real diversity rather than the usual contrast between village and city characters in films.

Moreover, the actors needed to be comfortable with a particular intimate scene, so we ensured they were informed about it before auditioning. Of course, many of them would just say no to even auditioning. But we auditioned those who did come. However, we still didn’t find the right actors. A friend shared Bhushan’s Instagram handle with me, and I found his photos and videos interesting. We asked him to come for the audition. Of course, when my casting director explained everything about the film and its requirements, he was completely okay with it because he really liked the idea. After the audition, we knew he was right for the role. Bhushan is a trained theatre actor, and he suggested his friend Suraj, who happened to be from the same region where we shot the film. When I saw Suraj’s photos and heard his dialect, I knew he was perfect for Balya.

Bhushan and Suraj had studied acting together at Lalit Kala Kendra, Pune and had been close friends for six years. Their bond naturally translated into onscreen intimacy, enhancing the film’s realism. Since [we] lived in different cities — Bhushan in Surat, Suraj in Sangamner and I in Mumbai — we rehearsed online for three months, meeting on Zoom every evening to refine their performances.

Jayashree Jagtap joined early in 2021. She loved the idea and was so committed that she would say, “I’m not going anywhere. Whenever you shoot, I’m there.” Yugandar also understood the need for realism. He auditioned actors first, shortlisted those he liked and then shared their profiles with me for a second round. We selected only those who could bring a life-like quality to their performances and respond well to direction. During filming, I shaped performances with each take, and the actors adapted beautifully.

And as you mentioned about their performances feeling lifelike — that’s what I wanted. I was trying to create a portrait of my experience. From the beginning, everyone knew what I was looking for. It took time, but I feel lucky to have found such a committed cast. I’m happy people find the film real — that’s exactly what we aimed for.

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DS: Sabar Bonda is a co-production with producers from India, the UK and Canada. How did you find and connect with these collaborators?

RK:  I met Neeraj Churi, the main producer, in 2017 at the Kashish International Queer Film Festival in Mumbai. He had seen my short film, Sundar (2015), and had recently started supporting Indian queer filmmakers, believing they lacked funding. His goal was to provide better resources for equipment and overall quality of the film.

When we met, he expressed a desire to collaborate, especially on a queer film, since he knew I had also made a short film in 2017 titled  Khidki,  which was not  a queer film. In 2018, Chhaya Kadam asked me to write a script for her, which became U for Usha. I shared it with Neeraj, who loved it, and that became our first collaboration.

After U for Usha, we set our sights on a feature film, and he encouraged me to share any scripts I wrote. When I completed Sabar Bonda, Neeraj immediately wanted to produce it, despite knowing the challenges ahead. When he struggled to raise funds, we reached out to queer friends. Mohamed Khaki from Canada (who had been involved with U for Usha) and Kaushik Ray from London (who admired the film) joined as co-producers.

However, during shooting, a major investment fell through, leaving us without funds. To keep the project alive, Neeraj mortgaged his house in Mumbai. During post-production, Naren Chandavarkar and Sidharth Meer, who had known about the project since we pitched it at the NFDC Co-Production Market in 2022, came on board to help us complete the film.

That’s how I brought together the collaborators for Sabar Bonda.

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DS: Lastly, share your experience of winning the top prize at this year’s Sundance Film Festival. 

RK: It was an incredible feeling, and I was shaking with excitement. Winning the Grand Jury Prize at one of the top festivals in the world is amazing. We were also fortunate that our film reached Sundance and the World Cinema Dramatic Competition. I mean, we had that goal all the time. I wanted to take my films internationally, and I’ve been doing that, at least with my short films, while also participating in Q&A sessions as part of the process. Even with features, I wanted to do that. And finally, it happened. We could premiere our film at one of the top five film festivals in the world or an A-list festival. It felt like a dream come true.

It still feels surreal. When the jury announced the award at Sundance, I was shaking during the announcement, my speech and even afterward was overwhelmed by nervousness and excitement. The support from Sundance programmers was heartwarming; many told me repeatedly that our film was very special. At the premiere, audience members came up to share their thoughts, which only added to the magic of the experience.

I hope this success helps us secure a theatrical release in India and allows us to present the film as it is, without compromise. I’m optimistic and excited to see what happens next.

Dipankar Sarkar (@Dipankar_Tezpur) is a graduate in film editing from the Film and Television Institute of India and currently based in Mumbai. As a freelancer, he frequently contributes to various Indian publications on cinema-related topics.

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