Exclusive Interview With Priyanka Bose & Raam Reddy On Magical Realism In ‘The Fable’

After the global success of Thithi, which clinched the First Feature Award at Locarno in 2015, director Raam Reddy’s return to the screen with The Fable was bound to attract attention. In 2024, that anticipation was rewarded: the film secured the Special Jury Prize at the Mumbai Film Festival and stirred conversations across the global festival circuit, including The Indian Film Festival of Los Angeles.

The film’s resonance, however, isn’t only in its accolades; it lies in its stillness, its philosophical texture, magical realism, and the performances that quietly disarm. “We never tried to be loud,” Reddy reflects, “The idea was always to build a world that breathes, where every pause means something.”

Priyanka Bose, who plays a pivotal role in the film, adds, “Raam gives you space as an actor. Not just to perform, but to discover. That changes everything.” Bose, a longtime force in independent cinema, describes The Fable as one of the most emotionally demanding yet spiritually satisfying projects of her career.

With this Indo-American co-production marking its presence at the 74th Berlin International Film Festival in the Encounters segment, and winning Best Film at the 38th Leeds International Film Festival, the first Indian film ever to do so, The Fable is no longer just a follow-up to Thithi. It is its phenomenon. A film that lets silence speak, and in doing so, says everything.

During the 23rd edition of the IFFLA this year, I had the chance to sit down with director Raam Reddy and the luminous Priyanka Bose, who brings the character of Nandini to life. Our conversation unfolded around the film’s delicate weave of magical realism, its contemplative cinematic language, and the creative road that lies ahead for them both. A dialogue filled with insight, warmth, and quiet wonder followed. Step into their created world.

Our Exclusive Chat With Raam Reddy And Priyanka Bose

Mehak Kapoor: Firstly, congratulations on the success of your second feature film, The Fable…

What was the first spark or idea that led you to create The Fable? Where did the journey of this story begin for you?

Raam Reddy: Thank you so much. Thanks for having me!

Well, this one began with the genre, even before the story took shape. I’ve always been drawn to magical realism. Not many people know this, but before Thithi, I wrote a novel called It’s Raining in Maya, which also explored that genre. Thithi was very grounded, almost like a slice-of-life film. I inherited a world that already existed and simply captured it. But with The Fable, I wanted to do something completely different. I wanted to build a world from the ground up, one that breathes on its own, inhabited by a family that feels alive, yet exists in a space where extraordinary things can unfold. Things that don’t usually happen in real life, but that I wish did. So when someone leaps off a cliff or when a magical moment occurs, it’s presented without fanfare, as if it’s just part of the everyday. That’s what drew me to this genre: bringing a quiet, wondrous magic to the screen in the most natural way possible.

Mehak: Yes, I sensed that too while reading about your work, your deep connection with magical realism comes through. I was about to ask you more about that.

But before we dive into the genre, Priyanka, what was it that drew you to The Fable? And could you tell us a bit about your character? How did you find yourself connecting with her on an emotional level?

Priyanka Bose: Yes, so I’ve wanted to work with Raam ever since I saw Thithi. He was one of my favourite directors that year, and I remember thinking, If an opportunity ever came up, I’d want to be a part of his vision. I had even mentioned that to Tess Joseph, our casting director. At the time, I hadn’t heard that Raam was working on something new. So when this project came along and he shared The Fable with me, when I read the script, there was an instant emotional connection.

It spoke a completely different cinematic language, something intimate and layered. And on a personal level, the world he created, the family, the mountains, the containment of it all, felt very close to me. I’ve known people like that in my own life. It didn’t feel like I was stepping into something foreign or having to imagine too far; it felt lived, familiar, and emotionally rooted.

And Raam’s energy, his excitement, was infectious. The very first time I met him, there was this buoyancy in his spirit that’s hard to put into words. It made me want to be part of the entire experience. The script was so beautifully written, each word deeply resonated. The characters felt alive, layered, and full of meaning. It was one of those rare scripts where every page pulls you in.

Mehak: Of course, that’s a great take!

Raam, coming back to you when we were talking about the magical realism, how do you define magical realism and also Priyanka, you can also answer the same question. How do you define magical realism in your terms, and how does it come to life in The Fable?

Raam: That’s always a fun question, because what’s beautiful about magical realism is that every artist brings their own deeply personal interpretation to it. No two creators approach it the same way, it gives you a kind of poetic license, a freedom to express your truth in a bold, unfiltered way. It invites you to be brave. At its heart, though, I’d say magical realism is where extraordinary things unfold within an ordinary world, where the magical is woven seamlessly into the fabric of reality.

In an otherwise grounded world, when something magical happens, it feels intrinsic to that reality. It’s not about fantasy or a moment where the magic is shrugged off; it happens, and no one blinks an eye. That’s what I wanted to capture. Literature often allows for braver exploration, and in some ways, it feels like a more fearless medium, especially when scaling up. This film was a huge leap for me, it’s 10 times the scale of Thithi. In Thithi, we were all just fresh graduates, but now I had the opportunity to work with industry stalwarts, some of the finest artists. The collaborations were incredible.

For this film, I needed that control to capture very specific emotional and thematic notes. And that’s something my cast and I worked tirelessly to achieve. When you want to combine the realistic and the magical, keeping both grounded, you have to hit these delicate, almost imperceptible notes. I don’t want to reveal too much because it would give away key moments in the film, but there are scenes like people leaping off cliffs wearing homemade wings, telepathy between two lovers, and unseen emotional depths woven into a song that Nandini sings, which ties into the deeper layers of the story. The film works on multiple levels, and, of course, there’s the fable itself, which gives the film its title. In many ways, I’ve explored magic from multiple angles, but this is my take on a genre that’s wonderfully malleable.

Mehak: And Priyanka, what is your description? What do you feel about what exactly magical realism is?

Priyanka: I think the first pure thought a child has is about escaping the routines or the disciplines that eventually settle into our nervous systems as we grow up. We forget the wonder of imagining what else could exist. Slowly but surely, we lose the ability to create magic in our minds or to think about it the way we did when we were children. As kids, we closed our eyes, and anything was possible; there were monsters under our beds, we could fly, and we could dream of being in alternate realities where anything could happen.

For me, as an actor, the exploration of becoming different people, acting in ways that aren’t my own, is an exciting and joyful journey. In a way, magic lives in those moments where you find that spark in the everyday. Even things like poverty don’t feel as painful, or life itself doesn’t feel as heavy when you can view it through the lens of magic.

Magical realism, especially, is a genre that hasn’t been explored much in India, even though we are rich in folklore and beautiful, mystical stories. So, I feel incredibly grateful that Raam asked me to be part of this film.

Mehak: Yeah, because when I heard you, Raam, talking about literature, I decided to look deeper into magical realism. I’ll be honest, I hadn’t heard the term before, so I did some research. That’s when I came across Midnight’s Children by Salman Rushdie. In the novel, children born exactly at the moment of India’s independence are gifted with extraordinary, magical powers. It’s such a fascinating concept, and it opened my eyes to the genre. I’m so glad to have learned about magical realism from both you and Priyanka, it’s been such an enriching experience.

Raam: It is like, in realism, the question is why, and in magic, the question is why not.

Mehak: Yes, that’s beautifully said. Of course, we’ve seen elements of magical realism in Hindi cinema before, but I think the terminology wasn’t always understood or clearly articulated at the time. But with your work and creative vision, I truly believe audiences will now begin to grasp what magical realism is.

Priyanka, coming back to you. Sorry, Raam, you were about to say something?

Raam: If The Fable helps shine a brighter light on the genre and brings magical realism the attention it deserves, I would consider that a true success.

Priyanka: Absolutely, why shouldn’t it? We’ve all grown up listening to our grandmothers’ stories, filled with wonder and impossibilities that felt completely real. Tales of disappearing letters, enchanted places, and mysterious beings were part of our everyday imagination. I believe we just need to lean into that alternate space a little more in our storytelling and embrace the magic that’s already so deeply woven into our cultural fabric.

Raam: Bravery and right now, like, you know, we need to be brave because things, you know, are challenging in this.

Mehak: That’s amazing. Priyanka, coming back to you, working on a film like The Fable, which is rooted in subtle magic, realism and layered storytelling, what did that experience teach or reveal to you as an actor?

Priyanka: I mean, first of all, as actors, we’re always exposed, right? For me personally, the journey with this character began by letting go of the rigidity in my body. There had to be a certain lightness in how she navigates the world. Even when the story edges toward mystery or heavier emotions, there’s still this gentle, buoyant quality to her. Without giving too much away, even when she speaks about going back home or confronting the unknown, there’s a softness and a deep sense of centeredness within her. And then there’s this bond between the four of them, so close, so unbreakable, no matter what the circumstances. I’m not sure if I’ve answered your question exactly, but that’s where I connected with her.

Mehak: You did answer my question correctly because that’s what taught you as an actor!

Priyanka: Yes, it did. It reminded me that no matter what’s happening personally, the work grounds you. There were so many challenges, both before and during the making of the film. For instance, each take would be different, and when you’re in a scene with multiple actors, there’s this constant pressure not to drop the ball. We had to remain present and completely in sync with each other, especially during those demanding night shoots. But it was also beautiful, working on a script like this, on a set that felt so intimate and collaborative. You truly get to witness everyone bringing their best, and that collective energy is incredibly inspiring.

Raam: We were searching and finding together. We’d start with something, and we’d search togetherr and we would find together.

Mehak: Yeah, that’s unity. And that’s how you grow. That’s how the film is a success in the end.

Raam, so what inspired your decision to shoot The Fable on 16 millimetre film? And how did that choice help shape the mood and texture of the story you wanted to tell? 

Raam: No, I mean, now it’s in the film’s DNA, right? When you choose that, it becomes inseparable from the essence of the film. You can feel it, it’s quite literally embedded in the emotional fabric of the story. The decision was made for a few reasons. Firstly, the film is set in the late ’80s, and that was the medium most prevalent at the time. So, from a design perspective, and as a realistic film, using the technology of that era makes it feel like we’re making the film in that time. It lends a sort of documentary-like texture that heightens the realism.

But secondly, and this is more philosophical, I’ve always felt, as someone who’s shot a lot of film photography, that there’s a kind of transference that happens in art. Whether it’s a song being recorded with analogue equipment or cinema being captured on film, there’s something different about how emotion embeds itself. With film, it’s a physical, chemical reaction, light interacting with chemicals to create an image. I believe that process crystalises emotion differently. More authentically, you could say. Everything just feels more present.

And finally, film is unpredictable. If you’ve ever worked with it, you know that the beginning and end of a reel look different. There’s dust you can’t predict or control. The grain dances from reel to reel. So, film itself becomes a character in the storytelling.

Priyanka: And I think that adds to the magic of both the filmmaking process and the film itself. That technical aspect is something we simply can’t overlook, because it was so deeply woven into the way the story was told.

Mehak: Right, it’s also a specific aesthetic and technical choice, often associated with that nostalgic, grainy, dreamy, almost magical quality, wouldn’t you say? It’s amazing.

Raam: So sharp and digital, right? Sometimes you just want to be impressionistic—you want to blend, to dissolve, to simply feel it.

Mehak: Yes, you are right! 

Priyanka, you have gone across very different worlds from an intimate poetic film like The Fable to an epic fantasy series like The Wheel of Time, right? How does your approach shift between the two?

Priyanka: Yeah, that’s a really good question because it’s something I genuinely wrestle with. I often find myself exhausted trying to strike the right balance. As Raam has pointed out, it’s partly my accent. Sometimes when I’m working abroad and then come back, there’s this shift I need to make. I need to meet the language and cultural rhythm of whatever region I’m working in. It’s not a challenge, though; it’s something I enjoy. I prefer when people point it out or when I’m working in an environment where it’s okay to adjust and recalibrate when my approach gets a bit messy.

Since the languages are so different, I have one rule of thumb: no matter where I’m working, the script has everything, just read, re-read, and internalise it until it’s in your skin. That way, when it’s time for adjustments, they happen organically in the moment. Once you’re open to the director and you know the fabric of the scene, there’s no need for lengthy discussions. You’re receptive and rooted.

Then all the tweaks, the subtle push and pull of 70 per cent, 10 per cent, happen intuitively. Sometimes I go in intensely, at 100 per cent, and then I realise a story like The Fable doesn’t need that. It needs something softer, more Chopin, like a delicate piano recital, not a full-blown drum session. So, you learn to play with those little elements, tweak them, pull them back, and that’s the magic.

Mehak: That’s superb, because I can understand how working in two different worlds, or rather, constantly navigating between many different worlds, can lead you to understand and adapt to different approaches.

Priyanka: Yeah, I mean, the only difference I would say is that with Manojji [Manoj Bajpai], our manager Deepakji, and me, we all spoke the same language, Hindi, and we understood English. Our accents weren’t too different from one another. On the other hand, with The Wheel of Time, there are so many actors from different parts of the world. If I drop the ball and don’t know my script, the issue is that I won’t be able to adjust to the accents or pacing of others. Everyone’s rhythm is different. So, I have to be extra attentive. But with Manojji and Deepakji, they’re like home to me; we understand each other completely. If I ever miss a line, it’s just a matter of saying, “I’m sorry, I jumped on your line. Let’s do this again.”

Mehak: And for you also, Raam, the film brings together characters from very different walks of life, all connected by a shared mystery. What were you exploring about society, class and human connection through these intersecting lives?

Raam: Oh, that’s a hard question to answer briefly because there are so many layers to it. I approached the setting as a kind of cross-sectional analysis from a socio-political perspective. We sliced that world and examined its various rungs. At the centre, you have the family, and just above them, the manager who holds the next level of power within that society. Then, you have the labourers working in the fields, who are native to that world, just as the family is. I was questioning certain tropes that are often associated with wealth. It’s almost as if wealth is seen as something earned through a crusade, but in their case, it’s inherited. They were born into it, born into that power structure. They didn’t go on a crusade to seize it. The true crusade, in this case, happened much earlier, when the British colonised. So, what’s being explored in the film is a world that is inherited, not one that was actively taken.

There’s another fascinating group in the film, the wandering nomads, who have no relationship to the land at all. Everyone else in the world has a very strong connection to it. This was important because I wanted to question humanity’s relationship with land. Even today, we have to reflect on how we label things and what we consider “ours.” That’s why this film feels so relevant and rooted in these issues, even though it’s set in a fictional world.

And so, yeah, I was playing with all of these things and how they interrelate. And that’s what the film is about. On one level, this is what it’s about.

Mehak: That’s beautiful. And Priyanka, you already told, that it was a dream to work with Raam. You loved his first feature film! 

Raam: It was my dream to work with her! I lucked out with my cast. It was an amazing experience working with Priyanka and everyone else. She’s just incredible. Honestly, it was surreal for me because, as a young director, even though I had made Thithi and other projects, working with these seasoned actors felt like a dream come true. I would gladly work with any of them again in a heartbeat.

Mehak: What was it like collaborating with Raam on set?

Priyanka: Oh, it was incredible. Raam has such a fresh perspective, and his direction is always on point. Even in the face of conflict, he has a very clear and direct approach. He comes with A, B, C, and I’m like, “Okay, what am I doing here?” It was really about showing up and trusting his vision. He’s very quick to catch the instincts, so explaining myself on set wasn’t difficult. I was aware that Manoj and Deepak had more experience than I did, especially in the Indian film industry. But it was never something that intimidated me, and Raam never made me feel separated from the rest of the team. He treated everyone equally, and that made the whole experience amazing. I’d work with Raam again.

Raam: Interestingly, I was part of the editing process, working alongside the editor as co-editor, not just as a director. I had so much phenomenal footage, it was hard to decide what to cut. For example, if I did eight takes with Priyanka, each one was great. The challenge was figuring out which to choose. With Thithi, I would do about 15 takes and might get just one good half-take, which I’d then blend into the film. But here, there was so much choice on the editing floor.

Every take was a committed emotional choice, and it became about finding the right tone for each scene. It was heartbreaking that I couldn’t use so much of what we had because it was all so incredible.

Mehak: Yeah, I mean, also Priyanka, I know, of course, it shouldn’t be about just using anything. Let me reframe this question properly. What exactly stood out about his direction or the process to you?

Priyanka: Um, wow, it feels like it was such a long time ago. But I just know his personality well. It’s almost like the director and he are not separate from each other, if that makes sense.

Mehak: Yeah, that’s why I was getting confused about whether I should ask this question or not, because I’ve read a lot about Raam.

Priyanka: No, but he’s not caught up in anything, and he’s not judgmental. He’s just a little dissatisfied sometimes. It’s almost like I don’t know if he’d ever admit it, but I feel like he gets fulfilled just by looking at the footage. Like, now I’ll tell you, he might have seven great takes, but at the time, you wouldn’t know that. So, I would always wonder, “Did he like it? I don’t know. Does he like that?” But we just shot it, it’s not like he was just… that.

Raam: I don’t think I’ve done that as much as I should have, but yeah, it’s always about making it better, right? That’s the goal.

Priyanka:Yes, always. So I feel like that pushed me as well. Like, I’m like, “Okay, there should be more,” and I feel like I have to keep striving for more. Maybe that’s why he had seven great takes—thanks for pushing me. I suppose you know? Because, I mean, I prefer that kind of constructive approach. Nothing about him was destructive, it wasn’t bad energy at all. It was just…

Mehak: He just wants everything to be like this, but he won’t say this…

Priyanka: Everything was like this. That’s what I’m saying. The actors came in, and sometimes I felt as if the director had created this perfect world. Everything was already set – A, B, C, all done, done, done. And then I felt like, sometimes, we, the actors, came in and spoiled it for him. But in a good way, you know? Now, when I separate myself from the film and watch it, I think, “Oh my God, we’ve made Raam’s world come alive.” It was incredible.

Mehak: That’s why I was unsure about asking this question, because “anything” feels like an understatement. I had read about you, Raam, before framing all the questions, and also about you, Priyanka. So I knew I had to ask this.

Okay, Raam, coming back to you, your films have a unique visual style. We all know that. How did you approach the look and feel of The Fable?

Raam: Well, I think one of the starting points was the classic feel, right? So, of course, the choice of film was essential. But then, working with the DOP, Sunil Barkar, and the production designer, Juhi Agarwal, we decided to take inspiration from films like The Godfather. We were very brave with things like our exposure. For example, The Godfather underexposed the entire film by three to five stops, which is unheard of, and that’s why it has that classic look with light gently grazing across the face. We took that risk and did similar technical things that hadn’t been done before. It’s a bit complicated, but we similarly lit the film. We also did a lot of testing, production design and costume tests with fabrics on film, and lighting tests with characters to see how the light would work with them.

We decided to go with a lot of practical lights rather than relying on heavy ones. Of course, there was plenty of fill light and heavy lighting, but it looks like practical light because we shot on film, and ratios are much more complex in that case. We approached everything from a classic point of view, thinking about the mountains in the late ’80s and that kind of vintage vibe. We shot in a 200-year-old British bungalow, a real one, and it was completely a shell. From there, we built our world.

The house had layers to it, things the grandparents had done, things the next generation had added, and things this generation had in it. We also had kids with toys scattered around, so it felt very lived-in. We worked those layers into how it looked and felt. And, of course, we used classic Cook lenses. Sunil lit the hell out of the film. I’m so proud of the way it turned out.

Priyanka: Yeah, Sunil did an incredible job. Everyone was so passionately and curiously involved in the whole process. For me, the magic came from those layers, from creating that world. The way it was shot was just exceptional – it truly brought everything to life.

Raam: The visuals were a huge part of the film. There are 600 VFX shots, and while some are invisible, like the flowers, no one can tell. Achieving that took a lot of time and effort. The fires and many other elements were VFX, contributing significantly to the world we created. We built the entire world exactly as we envisioned. We had a 378-page storyboard, a comic-style guide for the entire film, which played a crucial role. The storyboard artist was integral in shaping the final look.

It was a true collaboration between Sunil, Juhee, the VFX team, the storyboard artists, and the colourist, who did an incredible job. After everything was shot, so much of the magic happened during the colour grading process. It was a pipeline, from imagination in pre-production and collaboration to capturing, processing, and finally presenting the finished film.

Mehak: Absolutely, all the creative and talented souls came together, and the amalgamation was truly beautiful.

Now, Priyanka, what’s next for you? Are there any upcoming roles or stories that you’re particularly excited about?

Priyanka: I mean, that’s the strange part of being an actor, right? We spend a lot of time waiting. And right now, I’m in that waiting phase. I’m reading scripts, hoping something will resonate soon. Otherwise, I’ve done a couple of indie projects in India, and that’s about it. Right now, I’ve deliberately taken a little pause because I haven’t come across anything exciting yet. But I’ll be back soon.

Mehak: All the best to you, Priyanka, for that. Thank you.

Raam and Priyankha, this question is for both of you. What was it like working with actors like Manoj Bajpayee and Tillotama Shome on this film?

Priyanka: I mean, I worked with Manoj on this film, and it was an incredible experience. He knows exactly what he’s doing, and it was amazing to watch and observe him, especially his fantastic voice work. It felt like the perfect project for us to collaborate on, and I’m grateful for that. Working with both Deepak and Manoj, who have done such incredible work in the Indian film industry, was truly special.

Raam: As a young director, stepping into this project was almost intimidating. It felt like having all this power in my hands and wondering how to wield it, how to control it. But what struck me about working with him was his mastery of control; he has this incredible ability to transform within his craft, yet he maintains a tight hold over what he does in that space. It’s astonishing how closely he holds his character to his craft, almost like an extension of himself.

For me, working through the subtle layers of Dev’s interior was a journey. We connected on a deeper, spiritual level as well, both being a little into meditation and mindfulness. That connection helped us bring Dev’s interior world to life.

There’s this incredibly special scene in the film where Nandini (Priyanka Bose) is singing about her home and how she prefers it. I don’t want to give too much away, but it’s such a beautiful moment. The song is by Neha Rava, and as the camera floats into his eyes, he starts to tear up. That expression he gives is so multi-dimensional. It’s an expression that, for me, holds so much meaning, but it could mean something entirely different to you. It’s so present, so raw.

It was rare for me as a director to play with these layers, especially after Thithi, where we weren’t diving deep into existence. But with this film, we aimed to do that, to reach deeper into the characters’ souls. Similarly, working with Tillotama was an amazing experience. She was part of a schedule before ours, where she told the story to her kids, stepping into the non-actor world of the village. She had to bridge that gap between London and the village and tell the fable with all the layers I had envisioned. She brought so much of her essence into it, adding layers that were uniquely hers.

So, I got to explore the personal interiors of all my key actors in a way I hadn’t before, and that was truly special.

Mehak: That’s incredible!

Raam: Yeah, it was beautiful that they were vulnerable enough with me to open up to the process. It made the connection so much deeper.

And for me, it’s just vulnerability in every direction. I don’t even know how to hold anything back. I feel like everything I do, every step I take, it’s just out there, raw and open.

Priyanka: Same. My family is embarrassed by me, Raam. What can I say?

All laughing*

Mehak: And lastly, for you, Raam, what do you hope viewers in North America will take away from The Fable?

Raam: At the core, it’s all about emotion. The story is there, yes, but the soul of the story lies in the emotion that lingers long after. For The Fable, that emotion is hope. It’s joy, it’s release, and it comes in unexpected ways. If you’re open to it, it will touch you deeply. I can’t speak for the audience, but for me, it penetrated right to my core and created a glow that resonated deep within. That’s the glow I want to share; that’s why I made the film.

Mehak: That’s beautiful. Congratulations to you, Raam, Priyanka, and the entire cast of The Fable! Now, let’s dive into some fun and frolic rapid-fire questions!

Raam: I’m just gonna say something silly first, you know what I mean?

Mehak: Haha, okay, so I’m going to start with Raam. Okay. So Raam;

Mehak: You are aware of…

Raam: My heart

Priyanka: My needs

Mehak: You are fearful of…

Raam: Um, not finishing what I wanted to when I was a child.

Priyanka: Yeah, I feel like my biggest fear is not being able to, like, fulfil all my desires as a child.

Mehak: You are angered by…

Raam: Laziness

Priyanka: What’s happening in parts of the world that, yeah, we are not talking about?

Mehak: Yeah, you are in love with…

Raam: My wife and my dog, Buster and I are in love with the entire world.

Priyanka: I’m in love with the little privilege that I have right now. I’m IN love with that, the fact that I get to spend time with my family.

Mehak: You are best at…

Raam: Creating anything, like I don’t segregate, like to create anything and something changes, you have created!

Priyanka: I’m best at controlling myself or my surroundings, or like my environment. I’m the best at that, creating.

Mehak: You are shy of…

Raam: Oh boy, singing, which I want to.

Priyanka: I’m shy of something very personal about my body. I’m shy, like, yeah, it’s strange.  I mean, the irony is that I shouldn’t be, because I’m an actor, and you know, I do many things with my body, but I’m kind of like conscious of it and stuff.

Mehak: You are always ready for…

Raam: Ah, something new. It’s almost…it’s nearly a problem.

Priyanka: Yeah, I also need something new. It could be anything: a new place to go, a new place to explore, a new person to chat with. Like, yeah, yeah. Raam for me. 

All laughing*

Mehak: Excitement is…

Raam: Um, yeah, something I haven’t done before. So it kind of links, right? That way. It’s, it’s, uh, trying

Priyanka: For me, excitement is getting to do what I want to do exactly the way I imagined it.

Mehak: Confusion is…

Raam: Oh, confusion is, I think, like, like being timid or going halfway, right, is not going halfway. Yeah. What is it, right?

Priyanka: Confusion is when I’m not clear about what my next step should be when it concerns someone else or something else or an establishment and things like that. Like I cannot be, you know, that confusion is being lied to. Like, I don’t understand it. 

Mehak: Raam, for you, prejudice is…

Raam: Prejudice is labelling something. As soon as you have labelled it in any way, shape or form, there’s prejudice. You don’t label it, there is no prejudice.

Slightly philosophical way of putting it, but yeah.

Priyanka: For me, prejudice is about harshly judging something without truly understanding where anyone is coming from. It’s about jumping to conclusions without fully considering the context or the lived experiences of others. In society, we don’t always live in a fair world, and while it may sound naive, I often feel that way. Prejudice is not just judgment; it’s a lack of respect for a system, a place, or a person. It’s a failure to recognise the complexities and humanity that shape each situation.

Mehak: Peace is…

Raam: Peace is enough!

Priyanka: Good sleep

Mehak: Ah, right, of course!

Hope is…

Raam: Unconditional love or at least access to it. 

Priyanka: Hope is again, like you know, togetherness. Hope is seeing another day. Hope is being able to breathe and seeing the sunrise and the sunset. Hope is a plate full of food and a belly full of laughter.

Raam: And The Fable…

Mehak: Yes, right!

Satisfaction is…

Raam: Oh, knowing you did your best, you know, doesn’t always happen. Sometimes you have to be honest with yourself, right? 

Mehak: Yep, yep, yep. Of course!

Raam: It’s quite interesting. It’s also succeeding.

Priyanka: Satisfaction is, I mean, I love the metaphor that, you know, desire cannot be fulfilled, and that’s why it’s so palpable. I don’t think satisfaction is something that I relate to at all. I feel like we’ll always, always aspire to do something else.

Mehak: Yeah, of course.

Loyalty is…

Raam: Loyalty is like being honest with yourself. Now that sounds silly, but it’s staying true to yourself is real loyalty in the sense that you’re honest about anything that you’re doing. And then if you’re loyal, that’s real loyalty.

Mehak: Yeah, no, it’s not silly. I, I believe in that too!

Raam: Right. Loyalty is not a pre-decided thing. It’s spontaneously refreshing itself every moment. 

Priyanka: Yeah being true to yourself first you first then everyone else if you’re good everything else is good and that’s vis-a-vis like you know um i mean i love my family but uh if i am loyal to myself is when i will educate saying that uh okay now i can fully understand who i am what i want so I can help you or I don’t have to betray myself in the process.

But it’s not about me all the time, you know, there’s a big difference.

Mehak: Friendship is…

Raam: It’s a hug. You and I hug as friends!

Priyanka: Friendship sometimes is comfort, friendship is comfort.

Mehak: Last but not least, what is love for you, Raam, and what is Love for you, Priyanka?

Raam: That’s a great question. You’ve stumped me right at the end.

I think love is about complete and utter openness. When you’re willing to share yourself entirely, one hundred per cent, love forms on its own. You’re simply present and allowing life to unfold. The very nature of life is love. And when we’re disconnected from ourselves, that’s when we’re not loving. I’ll reflect on this more, but I like that this was the last question.

It’s like when you look at a dog and truly connect. When a dog looks into your eyes, I honestly believe they understand love better than we do. Because language matters. If you look at a dog with just your eyes, they won’t budge. But if you look at them with your heart, they know. They just know.

Priyanka: Love is generosity. Love is the, you know, space. Love is honesty, honesty with yourself. Love is care. Yeah…

Mehak: That was beautiful. Thank you so much, Priyanka and Raam, for your time. I truly enjoyed speaking with both of you. It was such a calm and peaceful conversation, and I cherish interviews like this.

Raam: Yeah, thanks. Thanks for such wonderful questions. You know, like I feel super related, satisfied and a little bit of love in my heart. 

Mehak: Beautiful, thank you so much.

And just one last question for you, Raam, where exactly can the audience watch this film?

Raam: That’s a good question, and we’ll know soon. There are still a few things being worked out, but our intention has always been to share the film as widely as possible. It was never meant to be a small indie release, it was always envisioned as a large, cinematic experience. Whether or not it ends up in theatres, the idea is to present it in the most impactful and immersive way we can. So yes, discussions are ongoing, and widely, where it’s looking at right now.

Mehak: Congratulations once again, Raam and Priyanka. I wish you both all the very best and truly hope we can connect again soon, whether it’s for another film or an exciting new project.

Raam: Yeah, I would love to. 

Priyanka: Cool. Yeah, can’t wait. Thank you. Lots of love!

The Fable

Directed by: Raam Reddy

Starring: Manoj Bajpayee, Priyanka Bose, and Tillotama Shome