ASSI film leading South Indian actress kani kusruti urged to Bollywood film makers don’t think I can learn Hindi very fast

After earning global acclaim with Payal Kapadia’s All We Imagine As Light, Kani Kusruti has stepped further into Hindi cinema with Assi, directed by Anubhav Sinha. In the courtroom drama, she plays Parima, a rape survivor in New Delhi fighting for justice, represented by a determined lawyer portrayed by Taapsee Pannu.

In a candid conversation, Kusruti reflects on changing work cultures in Malayalam cinema, the emotional realities of portraying trauma on screen, and her thoughts on vigilante storytelling.

On Safety in Malayalam Film Sets

Kusruti acknowledges that working conditions in Kerala’s film industry have evolved over the years, particularly after the formation of the Women in Cinema Collective (WCC).

She recalls a time nearly 15 years ago when Malayalam film sets had very few women beyond actors. Female assistant directors were rare, often lacked basic facilities like washrooms, and sometimes were not paid adequately. Compared to Mumbai, where she observed a stronger presence of women across departments, Kerala’s industry felt male-dominated.

Today, she sees visible change. Many productions now have internal committees where women can raise concerns. There are more women in creative and technical roles, and she feels people are more mindful of their behavior.

However, she admits that part of this shift may be driven by fear rather than genuine transformation. While not ideal, she believes accountability still leads to safer spaces. She also credits the younger generation for being more aware and open to change, even as new challenges continue to emerge.

Portraying Trauma in Assi

In Assi, Kusruti performs emotionally intense scenes tied to sexual violence. She describes the experience as challenging not only for herself but also for her co-actors.

Approaching the role with what she calls a “clinical” mindset, she draws from her theatre background and comfort with her body to separate fiction from reality. She says fictional scenes, however disturbing, affect her less than real-life news reports of violence, which she finds deeply unsettling.

For her, the greater emotional weight lies in knowing such events happen in real life.

The Dynamic with Taapsee Pannu

Reflecting on Parima’s relationship with Taapsee Pannu’s lawyer character, Kusruti emphasizes that the film avoids the typical “saviour syndrome” narrative. Instead of presenting a singular heroic figure, Assi portrays multiple women with distinct perspectives shaped by their own lived experiences — including the judge’s character and even supporting roles.

She appreciated how the film allowed women to exist beyond a simplistic victim-saviour binary, offering layered portrayals rather than emotional dependency.

On Vigilante Justice and Cinema

Assi also touches upon vigilante justice — a recurring theme in Indian cinema. Kusruti believes such narratives are deeply rooted in patriarchal structures and long-standing survival instincts.

She suggests that historically, communities may have relied on heroes for protection and continuity. But in modern societies shaped by law, constitutional systems and civic structures, she questions whether revenge-driven storytelling is still necessary.

Comparing certain impulses to vestigial organs like the appendix, she wonders whether some emotional responses are outdated remnants of evolution. She notes the contradiction between what people preach publicly and how they behave when personally affected by similar situations, often reacting impulsively despite education and awareness.

Among vigilante-themed films, she cites Maheshinte Prathikaaram as one she admired for its irony. Rather than glorifying revenge, the film subtly mocked the very idea of masculine pride tied to retaliation.

She questions whether audiences can now move toward more nuanced, complex storytelling rather than continuing to rely on saviour-driven revenge sagas.

Language Barriers and Hindi Cinema

Despite her growing recognition, Kusruti believes language remains a significant barrier in expanding her presence in Hindi films. She openly admits she does not speak Hindi fluently and struggles with understanding and memorizing lines quickly.

For Assi, director Anubhav Sinha adapted her character’s background to align with her Malayali identity, allowing authenticity in her performance. She says she continues to think in Malayalam and often mentally translates before speaking in English, making it difficult to take on roles that demand linguistic fluency and cultural nuance outside her roots.

Describing herself as “a true Malayali in every aspect,” Kusruti sees this not as a limitation but as an honest acknowledgment of her identity.

With Assi, she continues to choose projects that align with her voice — films that challenge conventions while engaging with social realities in layered and thoughtful ways.