Samarth Kadkol: I hope Edagaiye Apaghatakke Karana will be the next Lucia

Directing a film about left-handers might not be the most obvious way to make a cinematic debut. But for Samarth Kadkol, nothing about the journey of Edagaiye Apaghatakke Karana (EAK) — a black comedy suspense thriller — was typical. His path to the director’s chair was filled with unplanned turns, quiet revolutions, and a passion for often overlooked stories. Just like the left-handers his film champions.

“I didn’t start out wanting to make movies,” Samarth admits, and adds, “A short film I made on physical disability — honestly, it was done by fluke — ended up moving one of my professors to tears. That’s when I realised what cinema could do. That was the spark.”

That accidental magic became the matchstick for a fire that never dimmed. From making award-winning mobile phone films to being recognised by Google, Samarth’s early days were scrappy and raw, but curious. But a car accident changed everything. While recovering in Mumbai, he decided to apply to Whistling Woods International. There, he found not just formal training but a deeper purpose. He worked on socially rooted campaigns and amplifying gender narratives, including a short film that caught the attention of Bollywood insiders.

Soon, he was at Siddharth Roy Kapur’s production house, immersed in stories and understanding mainstream cinema. “Each ad is like a mini film — a problem, a solution, and a punchline. That’s how I wanted to shape EAK,” he says. “Siddharth sir was a pillar, but the inspiration was always rooted in Kannada cinema. Lucia by Pawan Kumar changed me. I wanted to make the next Lucia, in Kannada.”

The idea for Edagaiye Apaghatakke Karana didn’t come from a movie set but from a passing comment. “Someone in our team said, ‘The world is made for right-handers.’ That stuck with me like a hangover,” Samarth recalls.

That hangover led him to Google, where he found a touching story: a mother had written to Apsara stationery, requesting left-handed tools for her child. The company responded with a custom scale and sharpener. “This wasn’t just a story,” Samarth says. “It was a symbol of how design bias silently shapes lives. I knew I had to explore this.”

The project started with producer Gurudatha Ganiga and soon added Rajesh Keelambi, known for Shakahaari, as co-producer. The film was made under Hyphen Pictures and Keelambi Media Lab, with Ravichandra CJ, producer of Blink, handling distribution across Karnataka.

Even the title had a unique journey. “We were bouncing between ‘Lefty’ and ‘Lodde’,” Samarth laughs. “But during a trip, I saw a road sign that read ‘Avasarave Apagathakke Karana’. That inspired the final title, Edagaiye Apaghatakke Karana. I remember meeting Sudeep sir and hoping for his nod — it just felt right.”

Covid disrupted his original plans, especially a project called Antagoni Shetty with Rishab Shetty. But the spark behind EAK didn’t fade. In fact, Diganth, the lead actor, was so drawn to the script that he chose to act in the film for free.

“The role was so unique for Diganth,” says Samarth. “Black comedy is tricky — one wrong expression and the whole scene falls flat. But Diganth had the timing, subtlety, and spark. His performance reminded me of the old Anant Nag films.”

What made the role harder was that Diganth had to act entirely left-handed. “He’s naturally right-handed. Initially, he’d instinctively use his right — we even shot a scene before realising the mistake. But he got so into character that he started eating with his left hand too. His commitment was remarkable, especially after a spinal injury affected his left side.”

Samarth’s admiration for his cast runs deep. Newcomer Dhanu Harsha was found via social media. Nidhi Subbaiah reunites with Diganth after Pancharangi, and the Rangitaranga pair of Radhika Narayan and Nirup Bhandari appear in cameos. Even the technical team stood out. “Music director Praddyotan and cinematographer Abhimanyu Sadanandan brought texture and rhythm to the film,” he adds. “We didn’t do typical set art — instead, we created lived-in interiors. That added authenticity.”
The cast and crew have shaped a film that balances tension with humour.

“The plot revolves around a murder mystery, but it’s Diganth’s reactions that make you laugh. Every scene is a tightrope walk — emotional, but light on its feet.”

As Edagaiye Apaghatakke Karana prepares to hit screens on June 13, Samarth is clear about the message: “It’s fictional, yes, but it’s rooted in reality. The world is designed for right-handers. A simple mistake by a left-hander can lead to disaster. That’s the irony. That’s the tragedy. And in our film, that’s the comedy too.”

One wrong gesture. One unconscious choice. That’s all it takes to tip the balance. “With me at the helm, and with Diganth delivering one of his most daring performances, it looks like my debut has landed just right — courtesy of the left hand," he concludes.