The three-day Sabrang Festival 2025 started with a stirring conversation featuring acclaimed filmmaker and actor Tigamanshu Dhulia. The discussion delved into cinema, creativity, and the essence of storytelling, touching on topics ranging from artificial intelligence to the loneliness of artistic life.
Presented by the Help Artist India Foundation in collaboration with the People Foundation, the festival was curated by producer-director Farz Khan. The event celebrated Urdu ‘adab’, ghazal, and Indian classical music, bringing together poets, musicians, and filmmakers for a shared cultural dialogue.
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Beginning with anecdotes from his early life in Allahabad, Dhulia revealed how his name “Tigmanshu,” meaning “sun,” was given by his mother, symbolising light and energy; qualities that, he said, have guided his artistic journey.
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When asked if an actor’s success today depends on their digital presence, Dhulia dismissed the idea outright.
“It’s a big lie,” he said with characteristic bluntness. “Popularity on social media doesn’t convert into box office. People may follow you online, but that doesn’t mean they’ll buy tickets to your film.”
He also spoke about his surprise at being named one of cinema’s greatest villains for Gangs of Wasseypur. “How could I be called the greatest villain when we’ve had Gabbar Singh?” he asked. “I wasn’t even happy when they awarded me that; it was wrong of them.”
Turning to the subject of artificial intelligence, Dhulia called it “a great librarian; it has great references,” but added that “if you ask AI something in an Indian context, it’ll give you rubbish.”
While he acknowledged using AI tools in his own creative process, he stressed that true originality cannot be replicated. “Creative people won’t lose their employment,” he said. “Those who copy and sell will.”
Reflecting on his late friend, Irfan Khan, he said, “I had only one friend in the film industry, and when he died, I lost my support system. I haven’t been able to write the same way. My art feels weaker. Bombay is a lonely city; you make big decisions alone.” Adding further, he said, “When I was writing for Irfan, words/ideas would just flow because I knew he would bring them to life perfectly.”
Discussing his formative years at the National School of Drama (NSD), Dhulia reflected on the gap between theatre and cinema, defending NSD as a crucial training ground despite many graduates moving into films. “It’s not betrayal,” he insisted, “it’s evolution.”
He also revealed plans for a new film set in Uttar Pradesh, exploring political and social change through local dialects and relationships.
Closing with characteristic humility, Dhulia said, “Art must reach the streets. If it doesn’t connect with people, it’s just noise.”
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