In a raw conversation with Timeline, National Award-winning filmmaker Onir, the force behind acclaimed films like My Brother… Nikhil, I Am, and Pine Cone opened up about their cinematic journey, the persistent stigma around queer narratives, and the uncomfortable truths about the Bollywood industry.
Known for his courage both behind and beyond the camera, Onir didn’t mince words as he reflected on two decades of making films that challenge, disrupt, and humanise.
The interview began with Onir speaking about his latest collaboration for the second edition of My Melbourne, where he joins hands with cinematic stalwarts like Rajkumar Hirani, Shoojit Sircar, and Anjali Menon.
While the stories in this anthology haven’t been finalised yet, Onir expressed excitement about exploring fresh, intersectional themes and working in such a creatively diverse team.
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From there, the conversation shifted to his landmark debut, My Brother… Nikhil, a film that was both politically bold and emotionally tender. “There was no space for queer people when I made it,” he said, adding that things may appear to have changed, but not drastically: “They’re doing it because it needs to be done, not because they truly believe in it.”
He was sharply critical of Bollywood’s entrenched machismo and growing appetite for violence. “We not only allow violence — we celebrate it,” he said, referencing films like Animal and Kabir Singh. “Directors now boast that their films are the most violent. It’s deeply patriarchal.”
Discussing Pine Cone, his semi-autobiographical film, Onir revealed he shot it entirely on an iPhone, underscoring his belief that cinema is about heart, not scale. “People think filmmaking is rocket science — it’s not. It’s about intention, not budget.”
He also shared how crowdfunding has empowered him, with over 400 people helping fund I Am. “Independent cinema survives because of community, not corporations.”
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The conversation grew more personal as Onir opened up about the emotionally toughest scene in Pine Cone, which reminded him of his first love. “It was hard to relive, but I had to be honest.”
On the state of queer representation in Indian Cinema, he was unsparing: “Even today, you don’t see 1% of our stories reflected on screen. There’s still homophobia, and worse, invisibility.” He recalled the government’s refusal to clear his film about a gay army officer, calling it “a clear example of censorship and state control over personal narratives.”
To young queer storytellers in small towns, Onir had one message: “Talk to your parents. Don’t hide your truth. Your story matters. You matter.”
He also spoke about distancing himself from Bollywood cinema, preferring world films that offer nuance and emotional depth. “I’ve stopped watching most Bollywood movies. There’s a lack of soul.”
But he did express admiration for Malayalam cinema. “There’s a certain honesty there. I haven’t watched much recently, but the way Malayalam films handle queer themes — even if rarely — is far more grounded than Bollywood.”
He talked about the film that changed everything for him: Shyam Benegal’s Junoon. “That film made me want to be a filmmaker. It taught me that cinema can be layered, poetic, and still political.”
He also discussed the flavours of Kerala cuisine, expressing his admiration for his favourite Malayalam film and actors, before concluding the conversation.
