**Sanjay Gupta on ‘Visfot’: Delving into Mumbai’s Contrasts and Indie Film Industry Challenges**
In Suketu Mehta’s renowned book *Maximum City: Bombay Lost and Found*, Bombay is depicted as “the city of dreams where nothing is as it seems.” Filmmaker Sanjay Gupta finds this description fitting when referencing his latest cinematic venture, *Visfot*. The tapestry of Mumbai’s wealth and poverty, tradition and modernity, ambition and despair, provides the ideal setting for this Indian adaptation of the Venezuelan film *Rock, Paper, Scissors* (2012). Gupta states, “Mumbai is not just a backdrop; it’s the heartbeat of the stories I want to tell. It’s a city of dreams, but also of harsh realities. In *Visfot*, we continue my love affair with Mumbai, using the city’s gritty locales to reflect the film’s themes of conflict and redemption.”
*Visfot* features an interesting cast including Riteish Deshmukh and Fardeen Khan. Their characters, from entirely different walks of life, find their destinies intertwined over the course of a single day. This casting decision is notable for more than one reason. Deshmukh, traditionally seen in comedic roles, takes on a more serious character here. Meanwhile, Khan marked his return to the silver screen after a significant 14-year hiatus. Gupta reflects on this, saying, “I am the biggest Feroz Khan fan, and Fardeen has his father’s screen presence. I was delighted to work with him on this. When people watch the film, they will ask, ‘Why was this guy not around for a decade?’ He and Riteish bring a brilliant on-screen face-off.”
The movie’s direction is in capable hands with Kookie Gulati at the helm, who previously led the project *The Big Bull* (2021). Gupta praised Gulati’s vision and execution, noting, “I was mighty impressed by *The Big Bull* and knew I wanted to work with him. Kookie has elevated the material with his incisive direction. I never needed to visit his set; he ran the show gloriously.”
While *Visfot* is set to premiere on JioCinema this week, the evolving landscape of film distribution must be considered. The action thriller was developed exclusively for OTT (Over-the-Top) platforms rather than for a theatrical release. Gupta comments on this strategic decision, stating, “The film was made for OTT from the word go. We cannot undermine the power of OTT.
. During the lockdown, we saw how the viewing patterns changed.” The shift towards digital platforms is undeniable and has far-reaching implications for the film industry, especially during a time when the success or failure of a movie remains highly unpredictable.
This volatility in the market significantly impacts not just well-established studios, but especially independent producers. Gupta speaks candidly about the struggles indie filmmakers face in today’s climate: “It makes us feel alone. To be empowered to tell a story in its truest sense, you need immense logistical support. That becomes much harder in a shaky market. But this is also the time where passionate storytelling will take precedence.”
The unpredictable nature of the film market today creates additional hurdles for independent producers. With less financial backing than major studios, indie filmmakers often lack the extensive marketing and distribution networks necessary to ensure a film’s success. Gupta acknowledges this, adding, “In this environment, it’s challenging to get financial backers for new projects. The traditional revenue models have changed, and we need to be more creative in how we fund and distribute our films.”
However, the advent of OTT platforms has opened new doors for content creators. During the global pandemic, these platforms saw a dramatic rise in viewership as traditional cinemas remained closed. Audiences adapted quickly, developing a preference for the convenience of streaming content at home. This shift in consumer behavior prompted filmmakers like Gupta to reconsider how they deliver content.
Despite these challenges, Gupta is optimistic. The filmmaker believes that the changing landscape will ultimately highlight the importance of compelling narratives and unique voices. “This is also the time where passionate storytelling will take precedence,” he asserts. “Audiences are hungry for authentic stories told from different perspectives, and independent filmmakers are well-positioned to meet that demand.”
As *Visfot* prepares for its OTT debut, it will serve as both a testament to Gupta’s enduring affection for Mumbai and an example of how independent filmmakers can navigate the complexities of today’s film industry. With its strong performances and engaging storyline, the film holds the promise of providing a memorable experience for viewers while addressing larger themes of conflict and redemption, as mirrored by the city of Mumbai itself.
