Veteran filmmaker Sudhir Mishra isn’t just making films—he’s shaping the future of Indian cinema. In a powerful post on X (formerly Twitter), Mishra used his platform to spotlight rising talent and issue a call to arms for the next generation of storytellers, particularly those outside Mumbai’s film bubble. His inspiration? Anuparna Roy, the breakout director from Purulia who stunned the world by winning Best Director at the 2025 Venice Film Festival for her haunting debut Songs of Forgotten Trees.
“Nobody has a monopoly on cinema,” Mishra wrote, urging young creators from every corner of India to claim the medium, tell their truths, and reject the notion that they need to migrate to Mumbai to find success. The message wasn’t just poetic—it was revolutionary. Mishra encouraged filmmakers to band together, create their own circles, and even hunt for non-traditional funders, pointing to India’s “young super rich non-trader types” as potential backers for bold, independent visions.
Mishra’s stance is a timely reminder that art doesn’t need permission, and legacy doesn't have to come from lineage. In a cinematic landscape often dictated by box office formulas and industry gatekeepers, Roy's grassroots success story feels like a breath of fresh mountain air—and Mishra is making sure young talents see the open road ahead.
Meanwhile, Mishra himself is gearing up for his next project, Summer of ’77, a politically charged series set during India’s Emergency era. With Rahul Bhat taking on the complex role of Sanjay Gandhi, and heavyweights like Saurabh Shukla and Rajat Kapoor on board, the series promises to be an intense, thought-provoking dive into a turbulent chapter of Indian history—something Mishra has always handled with deft nuance.
Whether it’s championing young voices or revisiting past upheavals, Sudhir Mishra continues to prove that cinema is more than a medium—it’s a movement.