Karan Johar and Neeraj Ghaywan on Star Kids, Martin Scorsese and Their Cannes Selection ‘Homebound’: ‘Living a Cinematic Dream’

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When the renowned Bollywood producer Karan Johar’s company, Dharma Productions, takes on a movie addressing caste and religious bias in rural India, with Martin Scorsese serving as an executive producer, it marks a significant chapter in cinematic history.

Neeraj Ghaywan’s long-awaited second film, “Homebound,” is breaking through barriers as it makes its way to the Un Certain Regard section of Cannes. This film, produced by Johar alongside Somen Mishra, Adar Poonawalla, Apoorva Mehta, and co-produced by Mélita Toscan du Plantier, is challenging traditional norms in the industry about who has the right to tell stories and how far they can spread.

The upcoming film “Homebound,” directed by Neeraj Ghaywan, is not just going to Cannes’ Un Certain Regard section; it’s shattering conventions regarding who gets to narrate which tales and the extent of their reach.)

An unexpected partnership between a prominent Bollywood movie producer known for glamour, an independent filmmaker driven by strong social ideals, and a renowned contemporary film director is set to make its debut at a film festival.

Ghaywan’s 2015 film, “Masaan,” initially screened at Cannes Film Festival’s Un Certain Regard section, where it garnered both the Fipresci Prize and Promising Future Award. The way to gain notable filmmakers as backers for this project was paved by co-producer du Plantier, who produced “Masaan” and has a long history of collaboration with Scorsese.

Martin has watched ‘Masaan’ and is eagerly awaiting Neeraj’s next project,” Johar shares with EbMaster. “Just learning that Martin Scorsese has provided feedback on a film I’ve worked on leaves me speechless, as if I’m experiencing an otherworldly sensation.

In the movie “Homebound,” two lifelong friends from a North Indian village, Shoaib Ali (played by Ishaan Khatter) and Chandan Kumar (Vishal Jethwa), yearn to escape the burden of their oppressed identities. They see a police constable’s job as their ticket to the respect they’ve been deprived of. With determination and optimism, they pursue this goal.

Chandan crosses paths with Sudha Bharti (Janhvi Kapoor), who encourages him to focus on education instead. On the other hand, Shoaib grapples with his mounting financial problems due to his father’s illness. Despite their different circumstances, they stand together, challenging a system that has let them down.

Scorsese’s creative impact was evident right from the start. According to Ghaywan, he was involved from the drafting phase itself, providing extensive feedback not only on the script but also during the editing process. He reviewed the film three times, which is remarkable considering he could recall character names and discuss them at great length.

As a devoted cinephile, I find myself eagerly anticipating Johar’s latest venture, “Homebound.” Known for constructing an empire with Dharma Productions through glossy, big-name blockbusters, this project marks a continuation of a lesser-acknowledged facet of their work. Over the years, they’ve also been responsible for creating festival favorites and critically acclaimed titles that challenge norms and push boundaries. Can’t wait to see what this innovative spirit brings to the screen with “Homebound”!

Johar expresses his confusion, tinged with annoyance, about why they’re often placed in specific categories. He frequently points this out because their work speaks for itself – from contributing sections of anthologies, like ‘Geeli Pucchi’ directed by Neeraj for ‘Ajeeb Daastaans’ on Netflix, to pushing the boundaries of cinema with films such as ‘Kapoor & Sons’ and ‘Kill,’ which premiered at Toronto in 2023. Their aim is not just to keep up with mainstream productions but also to reach the artistic shores by occasionally creating a film that breaks barriers and enhances their reputation as a production house that values both innovation and quality.

All I can say are two things,” he replied. “One is Neeraj, the other is Ghaywan.” He continued, “I felt, he had me from the very beginning.

In this movie, we see rising stars like Ishaan Khatter, known for “The Perfect Couple” on Netflix, and Janhvi Kapoor, who starred in “Devara Part 1,” joined by Vishal Jethwa from the upcoming film “Tiger 3.” Despite being from well-known movie families, their roles revolve around a story addressing marginalization and social disparity. Some might find it surprising to cast ‘star kids’ in such a context, but the directors emphasize that the actors’ dedication surpassed their privileged upbringing.

Ghaywan underscores that he genuinely felt a sense of working alongside individuals who radiated kindness. He was referring to those who had faith in him, whose enthusiasm stemmed from the script.

The quest to find Chandan was exceptionally prolonged. “We searched for quite some time,” Ghaywan discloses. “We auditioned numerous individuals for the role of Vishal. However, I felt drawn towards Vishal not just because he was a talented actor, but also because he possessed an air of innocence. This quality added depth to the film, making it more heartwarming, and ultimately, Vishal joined the project.

Johar, an expert on star appeal, remarks about Khatter: “He’s a versatile actor. He can portray the seductive charm required for ‘The Royals,’ making him a modern heartthrob, and he can evoke deep emotional responses in ‘Homebound.’

For Kapoor, the film marked a significant change for her, both in her on-screen portrayal and off-screen life. Director Ghaywan is especially mindful of the actress, given the intense public attention she’s had to endure.

The director emphasizes that despite being unfairly criticized and targeted online, Kapoor will prove her true worth when people watch this movie. He shares how she delved deeply into understanding societal disparities during preparation by reading Ambedkar’s ‘Annihilation of Caste’. Ambedkar, a key figure in India’s Constitution creation and an ardent fighter against caste discrimination, significantly reshaped the country’s legal and social structure.

According to Johar, Kapoor found the experience of working on ‘Homebound’ to be more therapeutic than just a professional job: “She described those ten days as her therapy sessions with Neeraj. She feels she was healed by it. To this day, she considers those seven or eight days spent on the set of ‘Homebound’ as the best days she has ever spent filming. She didn’t feel like she was acting, but rather undergoing a personal release.

Ghaywan’s preparation was deeply engaging and impactful. He describes it as an extended exposure exercise where he took the boys with him. They resided in villages, he explains. “Regardless of what actions we take, we cannot truly replicate someone else’s lived experience,” he says. “We can only try to understand and empathize. We can strive to do justice as best as we possibly can.

During this experience, there was a particular instant that made the director realize the film’s intention: “Sitting within a humble dwelling in a village, we shared a meal. Overwhelmed by the simplicity of it all, I couldn’t help but wonder, ‘Why am I making this film?’ This moment was so profoundly moving that my cinematic endeavor seemed almost trivial compared to the genuine beauty and richness of life unfolding before me.

Johar entrusted Ghaywan with full creative control due to his genuine approach: “I told him not to heed my voice, but instead, pursue whatever stirs within his heart, for he understands this film’s world best. It originates from a deep place within him, and he should trust his instincts. I am here merely as a silent cheerleader on the sidelines.

The movie explores challenging themes such as caste and religion in India, and despite delving into contentious matters, both directors assert that their work does not advocate for any particular side. As Johar puts it, “At its core, it’s a tale about friendship.” He further explains that the film carries a humanitarian message, with no clear antagonist. Neeraj masterfully portrays characters who operate within the complexities of life (the gray), grappling with their own internal conflicts and societal pressures, ultimately finding a glimmer of hope at the end.

Speaking from personal experience within a disadvantaged group, Ghaywan expresses that his goal with this movie isn’t to portray the other side negatively but rather to communicate with understanding and compassion. He aims to reach out to them, offering a shared seat, and say: “Take a look at this story. This is what happened in someone’s life. Perhaps it’s time to reflect on the current situation?

For Johar, getting his movie chosen for Cannes feels like the ultimate achievement. “To me,” he says with fervor, “Cannes is the holy grail of world cinema, essentially the temple of world cinema.” He had been there before as part of an anthology film called ‘Bombay Talkies’ [2013], alongside Anurag Kashyap, Dibakar Banerjee, and Zoya Akhtar. This was a special screening at Cannes to celebrate 100 years of Indian cinema. “Years later,” Johar says, “now with an officially selected film, the magnificent golden leaf gracing our poster, and Martin Scorsese as executive producer… It feels like I’m living a cinematic dream.

Ghaywan, back in Cannes after a decade, reminisces about his transformation from an avid movie lover to a renowned filmmaker: “Each year during my early days as a cinephile, I would compile a list of all the films shown at Cannes. Anurag [Kashyap] and I used to challenge each other over who had watched which movie first. It drove me green with envy if he had seen a film before I did.

He pauses, the weight of his return evident. “I never fathomed, even in my wildest fantasies, that I’d have a film in a competitive category. It feels akin to being drawn back home to Cannes.

As a key collaborator, I’m managing global sales for the captivating film titled “Homebound,” while WME Independent takes care of the North American distribution rights.

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2025-05-21 13:17