Films like Assi are often burdened with the responsibility of walking the fine line between engaging storytelling and social conscientiousness. The latest Anubhav Sinha film is heavy on rape culture, internalised misogyny and a flawed judicial system---all themes that are too relevant for contemporary India. Kani Kusruti, who plays Parima, a young woman who becomes a victim of sexual assault and then struggles to come out of its shadow, acknowledges that making a film like Assi becomes more complex in a country like ours. “Every state is so different — in its exposure and understanding of the world. I don’t think you will ever have an ideal negotiated scenario where you can discuss it in a perfect way. Especially for a subject like this, more thoughts have to be put into it. It might be too much in one aspect, not enough in another. And yet, while you fail in places, it’s okay to accept the failure since you’re still taking a chance to talk about it.”
The actor also recalls having apprehensions about how the subject of sexual assault would be dealt with. “After reading the script, there were some scenes which I found very compelling. And yet, no matter how much we try, it may still have a certain gaze while you depict brutality in it; I have seen people find it titillating. It’s a complex subject, but you learn to depict it only by depicting it. That way I wanted to be part of it.” Talking about her director Anubhav Sinha, Kani says, “I was curious to know how his mind works. I admire his courage to talk about certain things he finds important. He is like a child, very open-minded, and you are free to disagree with him. I’ve also read up on the criticism of some of his films, and I appreciate that there is a discussion on it. I wanted to have that opportunity to converse with the author.”
Kani also remains very open-minded in terms of approaching subjects or artists with politics that don't necessarily align with hers. “There are also things which I definitely do not want to be part of. And yet, every author or filmmaker has their own journey. The ideological point I am at right now, maybe they will reach a few years later. It can be problematic, but I don’t mind being part of that story — that is where I have kept my room. It’s possible that I might regret it 10 years later, but I’d still do it.”
Is working in a relatively mainstream film like Assi different from All We Imagine As Light (AWIAL) and Girls Will Be Girls (GWBG), that are distinctively independent in their sensibilities? Kani tells me that the acting style always has more to do with the author than the genre or mainstream-indie binary. To make her point, she explains how vastly Shuchi Talati and Payal Kapadia, who made AWIAL and GWBG, differ in their working styles. She says, “In AWIAL, every moment is measured. Every scene was perhaps rehearsed countless times before the shoot, so we knew exactly what happened and how. For Shuchi’s film, we didn’t have that kind of rehearsals. We only had a few reading sessions, to get an understanding of the character's physicality.” Talking about her own preference, Kani notes, “I definitely love rehearsals. I like to have an idea prior to shooting. I like spontaneity on top of rehearsals. But for improvising, it’s also important to know the language well.”
By sheer coincidence, all of Kani's recent works — be it Assi, AWIAL or GWBG — centre on the female experience. Is that a factor when she chooses projects? Kani turns the tables as she says, “The funny thing is we don't ask this question to men. This question arises because we don’t have enough stories about all kinds of people. In an ideal world, films should be just films. But it’s not the case, hence…”
What does an actor like her do to hone her craft? Kani talks of her stints at various institutes like Adishakti in Pondicherry and NatanaKairali in Kerala, and its learnings. “I am a little lazy that way, but when I am not, I try to practise those things I learned.” Kani, who also practises the Sitar, shares that it’s important for an actor to learn something else apart from acting, and sometimes, not doing anything at all. “Like any luxury, it comes with having enough time and money. I don’t know if it helps me as an actor. but it helps me to have some kind of routine, and to hibernate,” she says. While talking about the under-spoken part of an actor’s journey, Kani says, “it can get tiring in terms of how we are constantly working with a new set of people all the time. It’s interesting, but can also be tiring. An actor is almost like a nomad that way. But otherwise, this is like any other job. I don’t ascribe any greater value to artists or cinema than any other job.”
Does she revisit her work often? Kani is quick to say an emphatic ‘no,’ and, surprisingly, calls herself a ‘below-average actor’. She elaborates, “Sometimes, I am lazy and I can see it on screen. Some people have had that talent since growing up; I didn’t have that. I do good work when I work hard. I can see how badly I’ve done in some scenes; that’s one reason I can't go back. Payal used to make us watch even rehearsals. It was torturous. I think I understood why actors should watch their work. That’s how you really learn.”
While Kani has been a notable actor in Malayalam cinema for many years, AWIAL brought her international acclaim. Has life changed for her after that film in any way, personally or professionally? Kani tells me about all the friendships she has gained, adding, “I gained a great friend in Payal (Kapadia). Shuchi, Preeti — they are all wonderful people. The personal gain is these beautiful female friendships.” The actor also takes note of solidarity among female artists in the country. “Most female artists here really support each other. They really cheer for you even if they didn’t know of you earlier,” she concludes.