Acknowledging that the violence showcased in the film “Kill” may not appeal to every viewer, the celebrated composer Shashwat Sachdev is confident that this “genre-bending” film will redefine the filmmaking process in India. Known for his hit track “Kaawaa kaawaa,” Sachdev’s insights provide a deeper understanding of the film’s ambitious vision and its potential impact on the industry.
The protagonist of the upcoming action film “Kill” has been compared by Shashwat Sachdev to an “artiste with immense angst.” He explains, “Artistes usually follow a template, and then, one among them displays so much passion in their expression that they end up changing the palette. For example, Vincent van Gogh’s painting ‘The Potato Eaters’ displays a lot of angst and variance in the way he attempted it. Similarly, musicians like Kurt Cobain changed how music was created. I believe this is that film for India. It’s a genre-bending and genre-changing offering that will evoke extreme responses. It is so important for great art to flourish and inspire conversations, even if they are polarized.”
The film, produced by esteemed filmmakers Karan Johar and Guneet Monga Kapoor, and headlined by Lakshya, premiered last September to much anticipation and some controversy. The discussions surrounding the film have only intensified following its premiere, indicating that its polarizing nature might just be what propels it into a position of significant cultural influence.
If there’s one aspect of the film that has seamlessly gained the attention of cinephiles, it’s Sachdev’s track “Kaawaa kaawaa.” Critically acclaimed and widely discussed, the song stands as a testament to Sachdev’s musical genius. The composer himself credits the film’s profound impact on him for the song’s quality, stating, “I like this form of cinema because it is fresh in the Indian market. I usually hate taking any brief relating to the sonic space of a song I am meant to create because it defeats the purpose of composing it using my interpretation. I want the first attempt to be driven by my decisions. My song is a small part of the big picture. It’s a promotional draft that pulls the film together. In the larger scheme of things, so many departments have come together to make this one piece visually appealing, with random shots, lighting, and color.
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Despite calling the number his interpretation of the protagonist’s anger, Sachdev concedes that viewers will inevitably draw their own inferences when they watch the film. “They wanted me to make something that was angry and passionate. But the audience is interpreting the music differently. I was sampling the beat from the producers’ vision because I was working on their brief. But the way a song eventually lands depends on the context of the film, how the audience interprets it, and how the director uses the material. Then, it finds its direction and destination. And even if that’s different from where I had intended it to be, it’s exciting to see where it heads,” he says.
Additionally, the decision to create a Punjabi track to fit the situation in “Kill” was “intuitive” for Sachdev and not the result of any “intellectual exercise.” This organic approach resonates with the film’s overarching theme of raw, unfettered emotion and innovation.
Apart from his work on “Kill,” Sachdev’s plate is full with upcoming projects. He is set to work on the Janhvi Kapoor-starrer “Ulajh,” which promises to be another significant addition to his illustrious portfolio. Furthermore, Sachdev will showcase the headlining act of Coke Studio, along with “my friends from Rajasthan.” This endeavor merges traditional and contemporary sounds in a way that only he can master.
Adding to his ever-expanding repertoire, Sachdev has also commenced work on the upcoming British thriller series “Virdee,” a collaboration that includes working alongside the German music producer Hans Zimmer. This international project marks another milestone in Sachdev’s ascending career, highlighting his versatility and global appeal.
Shashwat Sachdev compares the protagonist of “Kill” with an “artiste with immense angst,” driving home the point that pushing boundaries can lead to groundbreaking art. According to Sachdev, like Cobain in music or Van Gogh in painting, this film can be an inflection point for Indian cinema—a genre-bending, genre-defying experience that boldly challenges conventions and inspires fervent discourse. As the film continues to generate conversation, one thing is clear: “Kill” is not just a film; it is a catalyst for change in the world of Indian filmmaking.
