Divya Prabha: Anxiety helps me perform better

Pranav Raj, the film’s executive producer and casting director, asked me to audition for the role of Prabha, which was eventually played by Kani (Kusruti). Payal had already seen my movie Declaration (Ariyippu) and thought I might be a good fit for Prabha. However, when I went to Mumbai for the second round of auditions, she asked me to audition for Anu instead and I was selected after four rounds. Payal was the main reason I decided to take on this project. The script was solid, and the representation of the characters was convincing and beautiful.

During a casual conversation, I mentioned to her that I was interested in doing more youthful and energetic roles. I wanted to break away from the roles I had done before. I had already played much older, intense characters.

Anu is spontaneous, vibrant, instinctive, and full of energy—a 25-26-year-old who can also be quite immature at times. To be honest, I couldn’t relate to her much at this point in my life. I’m 33 years old, so you can imagine the difference in our maturity levels. It was what made portraying her a real challenge. I tried to draw on memories of my younger self as a reference for the role. I tried to change the way she walks, talks, laughs—even the way she kisses—to fully embody Anu. While Anu and I do share some traits, we're ultimately distinct characters with our own personalities and journeys.

Payal's process is very different from other directors I’ve worked with. She is incredibly collaborative. Even though she knows exactly what she wants, she always keeps the space open for input, allowing us to brainstorm and gain more clarity about the characters. Her involvement in workshops and rehearsals is just as intense as during shooting. We workshopped almost every scene, and Payal documented everything. During these workshops, we had opportunities for improvisation, and she always appreciated it when we brought something new to the character beyond her notes. Payal even told me that I contributed a lot to shaping Anu, but all the credit goes to her. She’s the captain of our ship.

For me, every character presents its own challenges. The more clarity the director provides, the more secure I feel. If a director allows space to discuss and explore the character, it helps immensely. Every new film feels like my first movie and I am quite anxious during the first two or three days of shooting. However, I also trust my anxiety—it helps me perform better.

I’ve known Kani since 2015. We’ve worked together on a television serial and a drama. The workshops and rehearsals helped us understand the dynamics between the characters. I workshopped almost every scene with Kani and Hridhu (Haroon). However, I didn’t get as much time to workshop with Chhayaji, but our scenes still turned out well. I hope to work with her again in the future. On the other hand, Hridhu is just 22, he feels like a younger cousin to me. Despite the age difference, he gave his all to the role of Shiaz.

I don’t believe gender makes any difference in creativity, but there were times when I found it very comfortable to work with the crew. There was a certain level of understanding among the crew members. For this film, having many women on set was energizing. I felt the presence of women contributed positively to the environment.

My father worked as a legal consultant throughout his life and is no longer with us. My mother worked as a nurse before her marriage. I have two elder sisters. My parents never restricted us from pursuing our interests.

After graduating, I felt the need to live independently, so I started working at an education consultancy as a counsellor while simultaneously pursuing an MBA in Human Resource Management. During this time, I used to go for a morning walk every day. One day, I saw a film shoot and stopped to observe. A guy approached me and asked if I could sit for the next scene. I agreed, thinking I could watch the shoot more closely. He then asked me to play a small role, which involved just 2-3 frames with no dialogue. This was the beginning of my journey in cinema. The film was Lokpal, directed by Joshiy.

Following Lokpal, I received a few more film offers. After Take Off, I began to explore the craft of acting more deeply, which evolved into a passion as I discovered the complexities of storytelling through acting. I felt a strong desire to pursue this for life, so I took an acting workshop with the Adishakti Theatre Group in Auroville, Pondicherry. I continued to do character roles until 2022. Ariyippu, directed by Mahesh Narayanan, is the first film where I played the main protagonist and it had a profound impact on me.

I consider this ten-year acting period an academic era. Each project has deepened my understanding of characters and their motivations, and I’ve honed my skills through continuous learning and experience. Acting wasn’t my initial passion; my journey began with a curiosity and a willingness to explore. Despite the uncertainties and the long wait without many offers, I persisted and didn’t give up. It wasn’t easy, but I remained hopeful and committed.

He was the first to recognise my potential in cinema. I will be grateful to him forever. Take Off was like a school for me as a beginner. I also worked with him on Malik and Ariyippu. I find something similar in Payal and Mahesh, not in terms of craft, but in their dedication towards cinema. Both share a similar level of commitment and passion.

I always aim for versatility and want to explore a variety of characters. Each role I’ve taken on has been a breakthrough for me, helping me grow internally. While audience acceptance is important and can lead to more opportunities, my primary focus has been on learning and mastering the craft. Everything else follows naturally.

AWIAL was my first movie shot in Mumbai, and it was also the first time I lived there for an extended period. It’s challenging to truly understand the city unless you live and work there continuously. I stayed for almost eight months for the shoot. I didn’t face any major struggles, as I was work-focused. I spent most of my time in South Mumbai at Payal’s house. I loved the city’s vibe and energy, and I missed it a lot after returning home. However, I also realized that only those with significant resources can fully enjoy Mumbai, just like many other places.

Both are prestigious festivals. I felt Locarno was more academic and focused on the world of independent cinema. But in Cannes, we experience the academic alongside the commercial giving it a different energy. At Cannes, I had to concentrate on my red carpet outfit and other related details as per their protocol. It was quite memorable and fun.

I never wanted my attire to be over the top and wanted to make sure I wouldn’t represent any culture or religion. I wanted it to be very neutral and universal which goes with my sense of aesthetics. Also, the definition of fashion for me is comfort and I wanted to be as free as a bird. What I wore were my usual choices, the ones I typically wear on ordinary days.

There are some exciting projects coming up, and I’m really looking forward to them. Our film is also set to release in France in the first week of October. We have a festival in Spain (San Sebastian) in the last week of September, so I will be attending the events.