Earlier, untouchability was a thing to shame people; now it is reservation: Neeraj Ghaywan

“Homebound is made with the intention to honour the marginalised people and depict the current environment where microaggressions against Dalits and Muslims go unnoticed,” said filmmaker Neeraj Ghaywan, whose sophomore film made it to the 98th Academy Awards shortlist this week. Speaking at The Hindu Mind in Delhi on Saturday (December 20, 2025), Mr. Ghaywan said it was fitting because the film had its roots in an op-ed piece by journalist Basharat Peer for The New York Times.

Produced by Karan Johar’s Dharma Productions, the story of a Muslim and a Dalit friend explores the invisibilisation of deprived communities against the backdrop of the 2020 pandemic, and has Martin Scorsese as the executive producer.

“For many of us, Chandan being reminded of his Dalit identity or Shoaib being reminded of his religion could be just a joke or an innocuous comment, but these microaggressions lead to decisions that alter their life because they dehumanise them, noted Mr. Ghaywan.

The filmmaker who emerged on the scene with Masaan (2015), which won the prestigious critics prize in the Un Certain Regard category at the Cannes, added that he also wanted to find out why migrants leave their homes across the world. “Why do they go to the cities? It is ironic that they want to be seen and heard. At the same time, they want anonymity. It is a question that we have stopped asking because I think it doesn’t matter to us.”

As one of the few Dalit filmmakers in the country, Mr. Ghaywan, who worked in the corporate sector before switching to cinema, reflected on broader social discourse. “Earlier, untouchability was a thing to shame people; now it is reservation quota. It feels like reservation is a privilege that has been accorded- It is not a poverty alleviation programme. It is a reparation for a 2,000-year-old injustice.”

Mr. Ghaywan said he did not expect the film to make it to the shortlist because it’s a fairly competitive year, with great masters in the fray. “A small film is trying to make a headway into it. I will work hard because it is about representing India. Karan is not leaving any stone unturned. He is putting all his might into it,” he said.

When asked what surprised him more—the Academy shortlist or the Film Federation of India’s backing of Homebound—Mr Ghaywan pointed to the latter. He expressed gratitude at FFI’s support in making the film the official Indian entry, saying he felt encouraged and positive about the decision. “It’s a good sign.”

Addressing CBFC’s cuts to certain important scenes, Mr. Ghaywan said the Board had a dignified dialogue with him, and while the political undertones may be “a little watered down,” the friendship—the “soul of the film”— and what it conveys about India’s “contemporary environment” remain intact. He added, “It could not have been cut because you cannot censor friendship.”

On the road ahead for the Oscar campaign, Mr Ghaywan said, “Nobody knows the right way or the right thing. We have international campaign managers who are guiding us on how to proceed. I’ve spent about a month and a half in the US and London, where we’ve been doing screenings.” In the same vein, he underlined, “It might sound like a cliche, but I think people finding a connection with the film is a bigger win than any award.”