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Anadi Athaley: “I see editing as an act of care”
The film editor and producer on defying dominant cinematic structures that flatten queer experiences
How does it feel to have edited Sabar Bonda, the first Marathi feature film to premiere at the Sundance Film Festival, and the first Indian film to win the Grand Jury Prize (Dramatic)?
Honestly, it feels a bit surreal. I first read the screenplay back in 2022, when Rohan (director Rohan Parashuram Kanawade) and Neeraj (producer Neeraj Churi) were still trying to raise funds for the project, and even then, it really stood out. It was so vivid and full of life. When the footage finally arrived and we began editing, the whole process felt almost meditative. Within a couple of scenes, we knew that we were working on something truly special. It had its ups and downs, of course, but it was deeply rewarding. Still, seeing how far the film has come is beyond anything that I could have imagined.
When you were approached to work on this film, what aspects of the screenplay made the deepest impression on you?
When I first read the screenplay, I was struck by how detailed it was. It had notes about framing and sound design, and there was this gentle rhythm to it. The dialogues felt incredibly grounded. I remember being amazed by some of Rohan’s observations. There is a scene where the protagonist, Anand (played by Bhushaan Manoj), is asked by a villager about his income, and he replies that he does not like to discuss it. Another villager then remarks that city people do not usually share such details. This moment unfolds as Balya (played by Suraaj Suman), the other protagonist, is being paid for his work. This is money that he, clearly, has been owed for a while. That contrast between the two worlds felt so sharp and insightful. It reveals so much without saying it directly. The film has many such moments that turn the typical urban gaze on rural life on its head, and that was truly refreshing to see.
What stood out in terms of the characterization, visual language and sound design?
What really stood out to me in the film’s tone was the empathy with which every character is written. Even when the others do not fully understand Anand’s thoughts or choices, they are still portrayed with compassion. There is no real antagonist here. Each person acts out of care for Anand, and even when their words hurt him, there is no malice behind them. I was especially moved by Suman, Anand’s mother (played by Jayshri Jagtap). The way she perceives and accepts his sexuality, while coping with the loss of her husband, is portrayed with such tenderness.
There is an embedded layer of love and gentleness running through all the characters, and that sensitivity extends to the film’s visuals and sound as well. The deliberate, measured way it is shot and designed contrasts beautifully with the harsh, arid landscape. It makes the emotions stand out even more. The film does not rush to explain. It invites you to simply observe and experience. Close-ups are rare, and when they appear, they truly mean something. There is no background score either, but the natural sounds of the birds, cattle, goats, the wind, temple bells, and even the stillness of the afternoon create a rich, lived-in soundscape that draws you into the rhythm of the place.
In Sabar Bonda, the editing plays a major role in the storytelling because it honours silences, and encourages the audience to fill them with empathy and imagination. What was your thought process like?
While editing, we realised that the more we allowed the film to breathe, the more powerful it became. Our main task was to shape its emotional rhythm, to decide when to let emotions build up, when to hold them back, and when to finally let them surface. The use of blank screens between certain moments was Rohan’s idea, and we kept them to give viewers a moment to absorb what they had just witnessed. It felt like taking a deep breath before continuing the journey. The film rarely employs urgency, aside from a single scene where Anand argues with his family.
The way it was shot also helped us discover the film’s visual grammar. Close-ups appear only at carefully chosen points, when intimacy truly needs to be felt. We were mindful of maintaining the film’s observational gaze, allowing viewers the freedom to explore scenes and characters on their own terms. The edit only gently nudges the audience emotionally when absolutely necessary. I think that approach gives viewers a sense of participation. It empowers them to make their own connections and, in a way, take ownership of the story.
It seems that the silences mirror the lack of public acknowledgment for Anand and Balya’s love in the heteronormative village setting. What do you make of this interpretation?
That is a very insightful take. Many of the silences actually come from the setting itself. The story begins with loss, and the isolation of the village adds to that feeling. Some characters quietly understand Anand and Balya’s relationship, and their subtle support becomes part of these silences. For instance, Seema, the sister-in-law (played by Pratiksha Kote), shows silent support for Anand, and his mother, Suman, gently encourages him to be himself. These moments reflect the gentle, unspoken ways people live their lives. While there is indeed a lack of public acknowledgment, partly because many characters are not aware of Anand’s sexuality, and partly because these silences hold a unique intimacy and also resistance as they create a private space where Anand and Balya’s feelings can exist away from societal judgement. So, I see these silences as expressive gaps that highlight the constraints of heteronormativity, making their relationship appear more like companionship to those outside their private world.
What are your fondest memories of working on Sabar Bonda?
One of my fondest memories from the editing process was working on a funny scene where Anand’s cousin, Bajrang (played by Hitesh Porje), drives him to a nearby town to get materials for a ritual. During the trip, they have an awkward conversation where the cousin awkwardly offers to help Anand see a doctor if he has any sexual issues. At the same time, Balya is messaging Anand on his phone. Editing this scene was a lot of fun because Bhushaan and Hitesh gave brilliant performances, and we had many ways to play with how comedic the scene could be. We decided to focus the humor mainly on Anand to highlight his awkwardness.
Another memorable moment was when we were editing a scene where Balya’s father, Gajanan (played by Ram Daund), hits him for refusing to discuss a potential marriage match. We had two great takes and debated which to use. One take had a better performance, but the other included a cat reacting to the commotion. I suggested to Rohan that we could combine the two by stitching the cat’s reaction from one take into the other with the stronger performance. We took the risk and had a great time doing it. In the final film, the cat’s movements fit naturally and even add some extra tension to the scene.
We also really enjoyed experimenting with the blank screens, trying different lengths, deciding whether to let the sound from the previous scene carry on or to introduce sounds from the next scene early. We played around a lot to discover how these choices affected the mood and emotion, and it was an incredibly rewarding part of the process.
The grief that Anand experiences after his father dies is sensitively explored in the movie. How did the editing process support you with your own grief, as you lost your father only a few years before that?
I lost my father in 2020, so when I first read the screenplay, it brought up a lot of emotions. There are so many things left unsaid when a parent passes suddenly, and I found myself relating deeply to Anand’s quietness. It felt very true to my own experience. Editing the film became a cathartic process for me, helping me work through some of my grief. I also had the chance to show one of the early cuts to my mother, and her reaction reassured us that the film was able to touch someone on a personal level.
You have edited a few other queer films: Nishant Roy Bombarde’s Daaravtha as well as Gair, and Joey Kaushik’s The Witch of Vihar Lake. How do your political beliefs shape your craft as an editor?
The belief that films hold great power and should give agency to their characters is central to my approach. I see editing as an act of care and responsibility, especially when it comes to queer narratives, which are often reduced to caricatures or oversimplified portrayals. I strive to resist that by embracing characters who defy dominant cinematic structures that tend to flatten queer experiences.
I appreciate it when queer characters are shown as whole people, not defined solely by their identity. For example, in Daaravtha, the child protagonist Pankaj is discovering his sexuality, but the story also weaves in caste identity, small-town life, and his relationship with his mother, adding depth and complexity to his being. Similarly, in Gair, caste discrimination remains unspoken but is deeply felt. The love between the two protagonists feels forbidden and it gives both of them the agency to defy the familial expectations. The Witch of Vihar Lake portrays Mitthu, who faces bullying but also encounters someone who opens up new possibilities for identity and belonging. The film gives agency to Krishna, the village’s so-called witch, showing her as a protector of the forest.
These intersections of sexuality, caste, geography, and community make queer narratives richer and more authentic. They present characters as real people living ordinary lives, not just symbols in activism. It’s important to recognize that, at the core, all humans are simply human, and their identities should not create barriers to understanding or empathy.
Please tell us about your upcoming documentary on football legend Bhaichung Bhutia.
The documentary film on Bhaichung Bhutia is a significant tribute to an inspiring man who started his journey from one of the most remote parts of the country and rose to become an international figure. His path hasn’t been easy as he has faced racism for being from the North East, for his appearance, and criticism for his innovative style of playing football. I am also one of the producers of this film. It is going to be directed by Karma Takapa. We are currently developing it and seeking funding, which has brought its own challenges that we did not anticipate. We hope to secure the necessary support soon so that production can begin.
In addition, I have worked on a documentary called Queering India, which follows the queer community’s ongoing fight for marriage equality, a right that heterosexual couples often take for granted. This film is directed by Swapnesh Dubey. It is currently awaiting festival screenings and a release. I am also involved in a couple of other documentary projects: a short film by Rujuta Doshi about an inspiring woman from rural Rajasthan, and another by Marc Ohrem-Leclef about a unique couple from rural Maharashtra. I cannot share more details about them at this stage.
Chintan Girish Modi is a journalist, educator and literary critic. His prose and poetry have been published in various anthologies. He can be reached @chintanwriting on Instagram and X.
