A decade in the making, Bhavantara brings an authentic, empathetic lens to the transgender community's emotional landscape. In a candid conversation, multi-faceted talent Karthik Sharma, who has written, directed, composed, and produced along with Pratap Krishna and Manoj Kumar Anban, joins lead actor Tanvi Rao to discuss breaking stereotypes, guerrilla filmmaking, and navigating sensitive narratives, as they gear up for the release on November 6. The film, also starring Pratap Krishna and Manoj Kumar, has Sagar Athadkar as cinematographer with Ashish Hulakund as editor.
Excerpts:
You began as a child actor working alongside legends. What steered your transition toward filmmaking?
Karthik Sharma: Growing up on sets with icons like Dr. Vishnuvardhan and Ambareesh, I was surrounded by incredible actors. But even as a kid, I was captivated by what was behind the lens. Acting can fade, but mastering the craft behind the camera endures. When I decided to make Bhavantara, it required my absolute commitment across writing, music, and direction.
The film addresses transgender identities and transitions. How did you sustain a ten-year research and creative journey?
Karthik: I was deeply moved by the real-life struggles, identity crises, and societal rejections faced by trans individuals. The journey wasn’t academic; it was personal. I spent years talking to people on the streets and online, listening to their unfiltered lived experiences. Our portrayal of Madhava transitioning into Madhavi rejects caricature. We captured emotional balance rather than exaggerated mannerisms.
Tanvi, you play Radha, a documentary filmmaker. How did you connect to her inner world?
Tanvi Rao: During our initial script discussions, Karthik asked me to articulate who Radha was. Not fully satisfied with my spoken answers, he gave me a writing assignment. I poured out pages detailing her childhood, conflicts, and evolving feelings for Madhava. That exercise anchored me. Radha’s perspective serves as an emotional bridge; her journey is about understanding, confronting conflict, and embracing unconditional acceptance.
Shooting at live events like the Koovagam festival comes with massive logistics. How did your team pull it off?
Karthik: Recreating a massive gathering like Koovagam on a set was financially impossible. We went straight into crowds of over two lakh people. My cinematographer, Sagar Athadkar, and I planned shots meticulously beforehand so we never interfered with the authenticity of the ground reality. What you see on screen is real, raw, and untarnished.
Tanvi, you also perform an uninterrupted, single-take sequence set to HS Venkateshmurthy’s Madhurege Hodanu Madhava. How challenging was that?
Tanvi: Radha needed to express her internal storm without cuts breaking the emotional rhythm. Our choreographer Nisha designed movements tailored to the physical house and my natural body language rather than commercial dance tropes. Moving through every corner in a continuous take required absolute sync with Sagar’s camera team. It was emotionally exhausting but immensely rewarding.
How did you manage the creative pressure of wearing many hats?
Karthik: Channelisation is key. Because my background spans scoring over a hundred television projects, the musical storytelling felt instinctive. On set, our core team was lean and deeply collaborative. Whether stepping out in a saree to test audience reactions in real life or getting behind the monitor to call the shots, having artists like Tanvi and Sagar share the vision completely kept everything grounded.
What is the core takeaway you want audiences to absorb from Bhavantara?
Karthik: Transgender lives are often reduced to crude stereotypes or isolated tragedies. We wanted to show the humanity, the family dynamics, maternal acceptance, and mutual respect they deserve. It’s a story of empathy, reminding everyone that love and identity are profoundly human.
