Rachna Singh, Editor, The Wise Owl, talks to Sachin Dheeraj Mudigonda, an Award-winning filmmaker whose work has been screened at prestigious film festivals such as Hot Docs, Raindance, EnergaCAMERIMAGE, and Krakow. His short film Testimony of Ana won the National Film Award (Swarna Kamal/Golden Lotus) for Best Non-Feature Film and qualified for the 95th Academy Awards in the Best Documentary Short category. It was also released by reputed platforms such as MUBI and Kinoscope. Sachin won the Panavision New Filmmaker Program Grant to produce his MFA thesis, Men in Blue, which was shortlisted for the 2023 BAFTA Student Awards. He was also a part of the India Film Festival of Los Angeles (IFFLA) Industry Days 2025 with his film A Silent Wave.

 

Hi Sachin. Thank you for taking time out to talk with The Wise Owl. It was a pleasure connecting with you at IFFLA.

 

 

RS: Your latest film A Silent Wave was selected at IFFLA Industry Days 2025, continuing your tradition of exploring nuanced social themes. Could you tell us about the genesis of this film? What inspired the narrative, and what did your creative and research process look like in bringing it to life?

 

SD: A Silent Wave came out of a quiet but intense time in my life—early pandemic days when everything slowed down and I was left alone with some big questions about identity, silence, and intimacy. I had a fantastic team of writers with me – Lakshmi, Dini & Jeri. We started thinking about the things we don’t say, especially in immigrant or queer spaces, and how silence can sometimes be both protective and painful. The story grew from there, shaped by real conversations with women around me. My writing team did a lot of deep-dive research—interviews, reading, and just sitting with the characters emotionally before ever writing a word.

 

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RS: Having grown up and studied in India, and later pursuing your MFA in the U.S., your work seems to reflect a hybrid cultural sensibility. How has this bicultural experience shaped your storytelling? Do you feel it adds a unique layer to how you perceive characters, conflict, and cinematic language?

 

SD: Definitely. Being between two cultures has made me aware of the gray areas—those emotional in-between spaces where so much of life happens. I think it shows up in my characters, who are often pulled in different directions internally. I’m also drawn to quieter conflicts—ones that aren’t always visible but deeply felt. Visually, I tend to like layered images, long takes, and moments where not much is “happening” on the surface but everything’s brewing underneath.

 

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RS: Your National Award-winning short documentary Testimony of Ana fearlessly tackles the persecution of women under the guise of witch-hunting. What were the emotional, ethical, and logistical challenges of documenting such a harrowing and real narrative?

 

SD: That film was heavy, emotionally and ethically. Anaben had gone through so much, and I wanted to make sure her story was told with care, not sensationalised. We worked closely with local social workers and translators to keep things grounded and safe, especially for her. It was also a tough shoot—remote location, very little infrastructure—but honestly, the hardest part was just holding space for Ana’s story. She’s incredibly strong, and I wanted the film to reflect that not just her trauma.

 

RS: Your work has been showcased at premier festivals like Hot Docs, Raindance, CAMERIMAGE, and now IFFLA. How have these global platforms helped shape your voice as a filmmaker? Do they influence how you develop your projects or how you imagine your audience?

 

SD: Festivals have been huge for me—not just for visibility, but for community. It’s been amazing to connect with other filmmakers and audiences who really get the work. I don’t think about festivals while making a film, but knowing there are spaces that welcome more layered, offbeat stories definitely gives me the confidence to lean into my voice and not water anything down.

 

RS: Your filmography spans across documentary (Testimony of Ana), fiction (Men in Blue), and hybrid forms. What determines your choice of medium for a particular subject?

 

SD: It’s instinctive. Some stories need the rawness of real-life—others ask for a little distance or play. For Anaben, it had to be a documentary because her story was urgent and real. But with Men in Blue, even though it started as non-fiction, fiction let me be more poetic and abstract. I usually start with the feeling I want to explore and then figure out what form can hold that best.

 

RS: You've received significant accolades early in your career—from the DGA Student Award to the Panavision Grant and the National Film Award. How have these honors affected your career trajectory, access to resources, and your confidence as a filmmaker? Do they bring a sense of creative freedom—or pressure?

 

SD: It’s honestly a mix of both. The awards have opened some doors—I’ve gotten to meet people, and have my work seen in ways that would’ve taken way longer otherwise. But yeah, there’s also a bit of pressure. I try not to let it get to me. At the end of the day, I remind myself to stay close to the work, to why I started telling stories in the first place.

 

RS: Your films have been released on platforms like MUBI and Kinoscope, gaining international visibility. In an era of digital proliferation, how do you see the role of curated streaming services for indie filmmakers?

 

SD: I’m super grateful for curated platforms. With everything online, it’s easy for films to get lost. Platforms like MUBI create space for discovery—and they draw an audience that wants to engage. It also feels great to be in the company of films I admire. Curation adds context, which matters a lot for indie work that doesn’t always fit into mainstream categories.

 

RS: Your body of work reveals a deep commitment to giving voice to the marginalised and overlooked. As you look ahead, what themes, geographies, or communities are you most eager to explore?

 

SD: I’m really interested in stories about memory, migration, and chosen family. Especially stories that don’t follow typical conventional arcs but dig into more complex emotional terrain. I also want to explore more intergenerational narratives—what gets passed down, what gets lost, and what we invent for ourselves. I’m drawn to border spaces—literal and emotional—where things aren’t clearly defined.

 

Thank you Sachin for taking time out to talk with The Wise Owl. We wish you the very best in all your creative endeavours.