In an unprecedented move, the United Kingdom has chosen a Hindi-language film, Santosh, as its official entry for the Best International Feature category at the Oscars. This historic decision marks a significant milestone for both Indian cinema and its diaspora within the UK, reflecting a confluence of cultures and cinematic traditions. Directed by British-Indian filmmaker Sandhya Suri, Santosh is not the first film from the Indian subcontinent to receive such an accolade, but it certainly has carved a unique place in cinematic history.
Back in 2017, another subcontinental film, My Pure Land, a modern-day feminist Western set in Pakistan and directed by Sarmad Masud, was the UK’s Oscar entry. However, Santosh’s journey remains remarkable, not just for its thematic richness but also the transnational collaboration it embodies. Santosh, a gripping police thriller set in Uttar Pradesh, has transcended geographical and cultural barriers, reinforcing the universality of storytelling.
Sandhya Suri, the visionary behind Santosh, expressed her elation at the news, mentioning that as a filmmaker, she strives to focus on the creative process rather than the outcomes beyond her control. “But did I do a huge fist pump and yelp with excitement!” she admitted candidly, encapsulating the joy and surprise that accompanied the prestigious nomination.
Shahana Goswami, the film’s lead actress, discovered only a day before the official announcement that Santosh would be representing the UK at the Oscars. Despite being a British production, Goswami believes the film is a testament to Indian cinematic excellence as well. “Santosh is an Indian co-production made with an Indian cast and a partly Indian crew by an Indian-origin filmmaker telling an Indian story,” she emphasized. However, she also acknowledged the complexity of cultural appropriation, suggesting that while India cannot claim full ownership of the film, it can certainly celebrate the strides it has made globally.
For Goswami, Santosh holds personal significance. She reflected on her role, “The film is hugely shouldered by my character. I’ve always wanted to do more of this… [Rubaiyat Hossain’s Bangladeshi film] Under Construction was the last film that had me in every frame.
. It’s been 10 years since then.” These experiences highlight the film’s personal and professional impact on those involved.
Since its premiere at Cannes, Santosh has enjoyed a successful theatrical run in France, which Sandhya Suri attributes to the film’s universal appeal and cross-genre narrative. “We are lucky to have had a phenomenal run in France, nearing 150,000 entries and maintaining a solid position over two months at the box office,” she shared. Looking ahead, Suri hopes for the film to be distributed in both India and the UK, as they hold personal significance to her.
Given the digital age we live in, Goswami is optimistic that Santosh will eventually find its place on a streaming platform in India. “In today’s day and age, getting on to an OTT platform is appropriate for certain films that have a niche audience,” she commented, recognizing the evolving landscape of film distribution.
Further expanding on the film’s impact, Sunita Rajwar, who plays a seasoned policewoman in Santosh, spoke highly of the film’s potential from the get-go. “We knew all along that Santosh would not be an average police drama,” she asserted. Detailing the meticulous casting process, Rajwar highlighted how Suri ensured Goswami and her were well-prepared for their roles through workshops that enhanced their on-screen chemistry.
Suri, who maintains a close relationship with India, has been deliberate about portraying complex issues such as violence against women with depth and sensitivity. Her extensive process of questioning and reflection perhaps explains why her films, including Santosh, are deeply resonant and carefully crafted.
In a broader context, Santosh is illustrative of the shifting dynamics of global arthouse cinema. Its production involved a diverse group of collaborators from various countries, including France, Germany, and India, showcasing how films today often transcend national borders.
As Santosh gears up to compete for the Oscar nomination, it is in the company of other international films exploring diverse narratives and languages. Among these are Poland’s Under the Volcano and Canada’s Universal Language, highlighting stories that resonate across cultures.
Although being selected as the UK’s entry to the Oscars is a significant achievement, Santosh will be looking toward the lofty precedent set by the UK’s 2023 submission, The Zone of Interest, which went on to win the Oscar. As Santosh continues its journey, it symbolizes a confluence of British and Indian cinematic prowess, setting a new benchmark for future productions to aspire to.
