Once synonymous with the glitz and glamour of Bollywood, Anubhav Sinha has recently carved out a niche as a bold chronicler of events that pose fundamental challenges to the idea of India. After striking a chord with audiences through films like *Mulk*, Sinha further explored socio-political themes in *Article 14*, *Anek*, and *Bheed*. While he first garnered attention for the action-packed *Sea Hawks* on Doordarshan, this week, the acclaimed director ventures into the streaming domain with *IC 814: The Kandahar Hijack*, a six-episode Netflix series based on one of independent India’s most significant intelligence and security lapses.
The series, adapted from Captain Devi Sharan’s book, reexamines the infamous hijacking that took place in 1999. “I was in Mumbai then, busy making music videos and earning money,” recounts Sinha. “I don’t have tragic memories of that period. My friends from the industry like Sudhir Mishra, Anurag Kashyap, and Hansal Mehta say I was politically aware even then. Growing up in Banaras and studying at Aligarh Muslim University inherently makes one politically conscious. In UP, politics is a common topic of discussion at tea stalls, and I frequented them often.”
Sinha clarifies that the six-episode narrative does not aim to either save or glorify anyone. “Something happened; I researched it as thoroughly as possible, and now I’m presenting it,” asserts Sinha.
When initially approached for the project, Netflix already had a script based on Captain Devi Sharan’s account, focusing on what happened inside the aircraft. “I couldn’t agree to the project as it was. The captain’s perspective was too narrow for what I wanted to explore. I teamed up with screenwriter Trishant Srivastava and other researchers to get a broader view, speaking with passengers, officials, and even consulting news reports. Journalist Adrean Levy also contributed valuable insights from outside India.”
The hijack occurred just months after significant events like Pokharan II and the Kargil incursion, Sinha points out. “It wasn’t easy for the government back then. Two hundred lives were at risk under a coalition government. Understanding the historical context enhances the viewers’ experience, but even without that knowledge, the narrative’s complexity is apparent.”
Sensitivity, governmental or otherwise, cannot be second-guessed, according to Sinha. “One issue was our slow reaction in Amritsar—a fact acknowledged by many bureaucrats of that time. My aim is to tell the story truthfully, without malice. The curtains have been lifted on this incident. Whatever angle you choose for your camera, you will only see the truth.”
Sinha reveals that he has never been inside the decision-making rooms depicted in the series. “I don’t know many bureaucrats, but I enjoy depicting their basic human instincts.
. The Crisis Management Group is a fascinating mix of personalities with different backgrounds but a common goal. During my research, I met with a bureaucrat who, despite not sharing specifics, provided valuable tacit information.”
The cast and crew brought Sinha’s vision to life. “Arvind Swamy was one of the first to join. Characters seemed to naturally fit specific actors like Manoj Pahwa and Kumud Mishra. Naseeruddin Shah agreed to participate without even hearing the script, while Pankaj Kapur, despite our long-standing professional relationship, took his time to commit. Out of nine actors, six wanted to rehearse, and three worked on instinct—but they all poured immense love into their roles.”
Pankaj Kapur, Arvind Swamy, and Manoj Pahwa have prominent roles in *IC 814: The Kandahar Hijack*. Bringing this historical drama to life also required meticulous VFX. “Good special effects are those you don’t notice,” Sinha emphasizes. “In *Ra.One*, we had ample time and money, but here, we worked with vendors to recreate the period accurately. The A300 aircraft used back then is now nearly obsolete, posing another challenge. Getting Kandahar’s color grading right also took considerable effort.”
The preparation was extensive. “My Director of Photography, Ewan Mulligan, asked if we were recreating 1999. I told him we were using today’s technology to revisit the event, rather than opting for an outdated approach.”
Sinha warns against interpreting success purely through data. “Art is rebellion. Stories like *Deewar*, though told before, became game changers because of their unique interpretations. If you restrict artistic vision with mere data, you reduce art to an FMCG product. Analysts in entertainment often lack enough data to make those assessments.”
Reflecting on his journey, Sinha concludes, “I inadvertently documented the period while reacting to it. Growing up in Banaras and Aligarh provided a unique blend of influences. Today, I can’t imagine making a film without a strong voice. My recent experiences, including being blown away by Christopher Nolan’s *Oppenheimer*, have shown me that political films can also be spectacular.”
*IC 814: The Kandahar Hijack* is set to debut on Netflix on August 29, promising audiences a gripping account of a pivotal moment in Indian history.
