In an unexpected twist during the auditions for the film Bombay Boys in 1998, Zoya Akhtar, now renowned in the Bollywood film industry, encountered Reema Kagti. The two burgeoning creatives met while seeking the same behind-the-scenes role, ultimately shaping their burgeoning careers. The pair, now accomplished filmmakers, first crossed paths in the bustling film circuit of Mumbai, during Akhtar’s unexpected audition as an actress—a story which she recounted at Mid-day’s Sit With Hitlist with Reema Kagti beside her.
Assam-born Reema Kagti, an alumna of Sophia College in Mumbai and a postgraduate from Sophia Polytechnic’s media school, had already established herself in the industry, serving as an assistant director (AD). On the other hand, Zoya Akhtar, following a stint in costume assistance for Mira Nair’s Kama Sutra and a sojourn at New York University for a filmmaking diploma, was poised to expand her expertise in directing.
The serendipitous meeting was almost theatrical in nature. The director of Bombay Boys had, on a whim, decided to audition Akhtar for a part, no less than the role eventually played by Tara Deshpande. Kagti, overseeing the audition process, recalls the humor that followed—an awkward audition leading Akhtar to proclaim herself as the “world’s worst actor.” It was then that Akhtar aimed for what she truly desired: to become an AD.
The film industry of the late ’90s was experiencing a seismic shift with the advent of synch-sound and a transition to more disciplined single-schedule shoots. Against this backdrop, Akhtar and Kagti boldly stepped away from the old structures—where ADs traditionally allied with a specific filmmaker or production house, absorbing their unique creative stamp. They were keen to explore multiple sets and initiatives, determined to craft their narratives and guard their individuality as filmmakers.
Referencing their decision to refrain from attaching themselves to single mentors, Zoya Akhtar reflected on their shared confidence, or perhaps audacity, to charter through independent waters in a sea of established norms. This independence wasn’t merely a rebellion but an assertion of their creative freedom.
At the very genesis of their working relationship were the collaborative writing sessions which laid the groundwork for their respective directional debuts. Kagti, having honed her skills on Rajat Kapoor’s Private Detective: Two Plus Two Plus One, and Akhtar with a broad experience set from her abroad education and early roles in Indian cinema, began writing small pieces together.
Their individual strengths complemented each other, smoothing out the creases in their creative processes. While they informally contributed to each other’s scripts, providing fresh eyes and alternative perspectives, they steered clear of formal credits, preserving the essence of their personal brands. Nonetheless, Akhtar’s Luck By Chance and Kagti’s Honeymoon Travels Pvt Ltd bear silent testament to their mutual effort and the symbiosis of their minds.
Zoya Akhtar recollects with a touch of humor the passionate disagreements that tested their partnership and friendship as they labored over the drafts of a short film. This tension, however, seemed to be a hallmark of their deep-seated dedication and the fertile ground from which their directorial careers would eventually flourish.
Today, Zoya Akhtar and Reema Kagti are recognized pillars in the Indian film industry, inspiring future generations of filmmakers to carve their unique paths. Their beginnings, as revealed in their Sit With Hitlist conversation, serve as a beacon, highlighting the importance of creative alignment, the fortitude in artistic independence, and the powerful bond of friendship in cultivating cinematic excellence.
