Art & Entertainment

Interview | Courage Is A Shapeshifter: Renuka Shahane On Loop Line

Renuka Shahane talks to Outlook about the emotional and creative impulses that shaped her animated short Loop Line (Dhavpatti).

Renuka Shahane Loop Line
Renuka Shahane Loop Line Photo: Youtube/ Instagram
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A luminous animated reverie, Renuka Shahane바카라s Loop Line (Dhavpatti) (2024) unfolds through the disjointedness, solitude, and helplessness woven into a woman바카라s routine. Created by Padachinha Productions, the film prepares for its screening at the New York Indian Film Festival 2025 on June 21, following a string of celebrated international showings. Shahane바카라s evolution into direction reflects an artistic inevitability, shaped by decades of performance across theatre, television, and film. Her choice to enter animation바카라imbued with mature, emotionally charged themes바카라feels both radical and intuitive.

Sakshi Salil Chavan spoke to Renuka Shahane on her creative lineage, the impulses behind Loop Line and the shifting contours of her storytelling. She reflected on her progression as an artist, the emotional and creative terrain that shaped Loop Line, and the experiences, triumphs and struggles of women in cinema. Edited excerpts:

Q

Loop Line explores the unnoticed trauma and emotional repetition in the lives of housewives. What drew you to animation as the medium to depict such a deeply human subject instead of live action? And how did it enable a different kind of storytelling?

A

I바카라ve always been fascinated by animation. But without a visual arts background, I never actually imagined making an animated film바카라especially since animation in India is usually reserved for children바카라s stories, mythology, ads or as embellishments in live-action work. But as I was editing the script, I kept returning to the protagonist바카라s quiet acts of escape or her internal world and they kept appearing to me in an animated form. Initially, I thought of blending animation with live-action, but I realised that might end up looking gimmicky or uneven. Instead, I began to think about the possibilities of envisioning this story entirely through animation.

For me, animation served two purposes바카라it brought a rare visual lens to an Indian woman바카라s emotional interiority, and it created a vital distance. It gave me the distance I needed as a storyteller and mirrored the emotional dissociation of the character herself. This woman바카라s only true freedom exists in the world within her head. Animation allowed us, and her, to observe that world without intrusion. I reached out to Soumitra Ranade at Paperboat Design Studios, who immediately told me how rare it is to make animated films for mature audiences in India바카라primarily because of the financial risk. But after the pandemic, I decided to back it myself, knowing I won바카라t get my money back. It바카라s my passion project, after all.

Q

You바카라ve lived so many creative lives바카라TV anchor, actor, writer, director. When you look back at the Renuka who initially appeared in popular DD National TV shows like Surabhi (1990-2001), do you think that version of you always saw herself making something like Loop Line one day?

A

I had completed my Master바카라s in Clinical Psychology before fully committing to acting, and right after that decision, Surabhi (1990-2001) happened. There was hardly any time to pause and reflect on what I really wanted to do. But I always knew that direction was something I was drawn to바카라I had already assisted Dr. Vijaya Mehta on Lifeline (1991), and that experience made me realise how passionate I was about being behind the camera. Still, back then, life was moving quickly, and I was caught up in figuring out whether acting was even the right path for me.

The idea of creating something like Loop Line just wouldn바카라t have crossed my mind then바카라not only because I was younger and less experienced, but also because I hadn바카라t yet developed the emotional maturity or depth of observation needed to tell stories rooted in other people바카라s lives. Over time, with age and reflection, those layers started forming. It became possible to step back and say: this story may not be revolutionary in plot, but it must be told바카라because it still resonates. And the responses to Loop Line have been deeply affirming. People across ages have written to say how it made them notice and appreciate the often-invisible labour of women at home, especially mothers.

Loop Line Still
Loop Line Still Photo: Youtube
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Q

From Rita (2009) 바카라where you adapted your mother바카라s novel바카라to Loop Line, you seem to return to themes of female solitude, sisterhood, and resistance. What keeps drawing you back to these spaces? Is there a core emotional question or theme you hope to explore in your future storytelling?

A

I often see Rita (2009), Tribhanga (2021), and Loop Line as connected바카라not quite a trilogy, but certainly linked in spirit. That intergenerational ripple effect바카라the way one woman바카라s voice or silence shapes another바카라s바카라is something I바카라ve always wanted to explore, especially through the lens of gender politics and the search for equality. Loop Line continues that thread, even though its tone and style are different. At its core, the protagonist바카라s surreal escape into her imagination is about the need for space to express her authentic self.

That said, my recent writing is beginning to shift. I바카라m moving beyond stories rooted solely in gendered experience to themes that are broader and more structural바카라racism, casteism, capitalism. My upcoming Marathi feature explores these, and one of my scripts is predominantly male in its cast. So yes, I바카라m evolving바카라stepping into more cerebral terrains, though always guided by heart. The heart can never be left behind.

Q

Since you have worked in both Bollywood as well as the Marathi industry, can you tell us the ways in which regional industries trump Bollywood?

A

Marathi has always had a deeply rooted literary tradition바카라whether in novels, poetry, or especially playwriting, which is quite rare and precious in today바카라s landscape. Because of this rich foundation, Marathi audiences are incredibly receptive to layered, meaningful content. There바카라s no need to dilute storytelling to the lowest common denominator; in fact, experimentation is welcomed. You can be niche, nuanced, and still draw people in. A recent example is Ata Thambaaycha Naay (2025), which revolves around the lives of BMC workers바카라hardly a conventionally entertaining premise, yet it struck a powerful chord and was widely embraced. That says a lot about the Marathi audience바카라s openness.

However, challenges persist바카라especially in the shadow of the Hindi film industry, which dominates theatres and audience spending in Maharashtra. Unlike other regional industries like Tamil, Bengali or Malayalam, Marathi films face direct competition with Hindi cinema, making it hard to secure screen space or sustain box office runs. Financial limitations also mean Marathi filmmakers can바카라t afford large-scale productions or pan-India releases. Despite all this, the industry continues to push boundaries, particularly in terms of content. The hope now is for wider accessibility바카라 especially through subtitles and OTT platforms바카라to let these stories travel.

Loop Line Still
Loop Line Still Photo: Youtube
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Q

You have frequently spoken in your interviews about patriarchy and its impact on women. Can you speak to us about instances when patriarchal notions impacted your career in the industry?

A

In the early days of working in Hindi films and television, I noticed a clear double standard바카라when I asked questions about the script or my character, it was often seen as being difficult or overly assertive. The same curiosity from a male actor was praised as commitment and depth. I바카라ve always been someone who likes to understand what I바카라m a part of, but not everyone was comfortable with that바카라especially when it came from a woman. I바카라ve encountered people who simply didn바카라t like taking instructions from a woman, or who would dismiss a woman losing her cool as being quarrelsome, while a man doing the same was seen as commanding and authoritative.

It took me a while to understand this bias, especially since I came from a household where both my brother and I had an equal say바카라so this kind of gendered response was a shock. Over time, though, I바카라ve seen that begin to shift. It바카라s heartening to witness so many women now working behind the camera, even in traditionally male-dominated roles like cinematography or lighting. As more women enter these spaces, the narratives also shift바카라there바카라s a deeper sensitivity in the stories being told, and a growing balance in how voices are heard and respected.

Q

Motherhood is clearly very important to you. In recent times, there바카라s been a raging debate across film industries on work hours for women who are young mothers. What바카라s your take on this?

A

When I was working in television, I was often the highest-paid person on set바카라not because I asked for it, but because the medium inherently told women바카라s stories. Most television shows revolve around female leads, so the industry was structured in a way that, at least for lead roles, women often earned more than their male counterparts. In that sense, I was fortunate바카라I didn바카라t have to fight for equal pay the way many women still do. In films though, if a male lead is known to bring in a larger audience, it바카라s only fair that he바카라s paid more. Payment should reflect the draw and demand, but where both actors bring equal value, compensation should be equal too. Unfortunately, women바카라s work is still often seen as a side gig or hobby, especially if they바카라re also managing a household. That bias runs deep.

As for the recent debate about working hours for young mothers, I believe it바카라s highly individual. I바카라ve seen actresses return to work just three months after giving birth, with systems in place to accommodate their children on set바카라but these are usually women in lead roles with enough influence to negotiate such terms. But in a cutthroat industry like ours, this kind of flexibility is a privilege. One would be shown the door for making demands. A junior artist can바카라t tell her employer, 바카라Mera baccha chhota hai, toh main sirf aath ghante kaam karungi.바카라 Most working mothers don바카라t have that privilege바카라that power lies only with a few. The corporate world isn바카라t kind to them either바카라there바카라s judgement, lack of support, and very little structural flexibility. In cities where double incomes are essential, it바카라s frustrating that we don바카라t make it easier for mothers to stay in the workforce. When we fail to accommodate them, we바카라re not just being unjust바카라we바카라re wasting immense talent and potential.

Q

Was there ever a time in your own life바카라either personally or professionally바카라when you felt caught in your own version of a 바카라loop line바카라 or a limbo? How did you find your way out?

A

Luckily for me, I바카라m in a marriage that isn바카라t loveless바카라so when I found myself caught in a kind of emotional loop, I was able to put my foot down and say, 바카라I need out of this pattern.바카라 Of course, the immediate response was, 바카라Why didn바카라t you say anything earlier?바카라 But the truth is, so often we assume that the people closest to us will just understand what we바카라re going through, without us having to spell it out. That rarely happens. I바카라ve always had a voice, and I바카라ve used it in the past, so asserting myself came a little easier to me.

But my protagonist in Loop Line doesn바카라t have that same agency or confidence. It takes a different kind of courage to speak up바카라and honestly, an equal kind to stay and endure. Both choices are brave in their own way. After I had children, I stepped away from consistent work in television because we바카라re a nuclear family, and raising the kids became my priority by choice. I had to be extremely selective about projects. But now that my children are older, I finally have the space to return to work more fully. That바카라s why people are seeing me more, especially since 2022, with web series and other exciting projects that are thankfully proving to be very fulfilling at this point in time for me.

Loop Line will be screened at the New York Indian Film Festival on June 21.

Sakshi Salil Chavan is a documentary filmmaker and an entertainment writer based in Mumbai.

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