Prismatic is how one would describe Tisca Chopra’s persona and potential. Stage, satellite, screen and now the digital space… it’s been a multi-medium run for the actor. Her elite talent was discernible even decades ago, when she appeared in the TV series Star Bestsellers. But it was playing Maya Awasthi, mother of a dyslexic child in Aamir Khan’s Taare Zameen Par in the millennium that brought Tisca mainstream recognition. Since then Anup Singh’s Qissa, Vikram Bhatt’s Ankur Arora Murder Case, Vikranth Pawar’s series Dahan: Raakan Ka Rahasya… and more have had her portray women trying to navigate their overwhelming realities...
What remain prized are her achievements as writer/producer/actor in the short film Chutney, which won the Filmfare Awards for Best Actor and Best Film. Her ‘teethy’ Vanita is a ghoulish payback to betrayal. As co-producer/co-writer/actor, the short film Chhuri delivered yet another empowering message – never underestimate the power of a woman scorned! Mention must also be made of her directorial debut, the short Rubaru, about an actor who strives to gather the fragments of her career and confidence. Having been vociferous about gender dynamics, be it as a person and performer, Tisca reveres the defining characters played by her peers and predecessors. Here, she elaborates on a few characters that have impacted her sense and sensibilities…
IN TISCA CHOPRA’S OWN WORDS:
â DAMINI (1993)
DIRECTOR: RAJKUMAR SANTOSHI
STORY: Damini (Meenakshi Seshadri) witnesses her housemaid being raped by her brother-in-law and his friends. She pledges to get justice for the browbeaten girl with the help of her husband (Rishi Kapoor) and lawyer Govind (Sunny Deol).
WHY I LOVE IT: The film, Damini – Lightning, was released in 1993, the same year I made my debut. At that time, Rajkumar Santoshi had just come off the massive success of Ghayal (1990). In many ways, he was ahead of his time, a feminist filmmaker, even before that became a thing. What struck me most about Damini was how well-written (Sutanu Gupta and Dilip Shukla) and impactful the character was. The film had great music (music directors Nadeem-Shravan, lyricist Sameer). But more importantly, it had a strong voice that resonated deeply. The journey of this young woman, transitioning from a humble background to a wealthy household while staying true to her values and ideals, was inspiring.
One particular scene left a lasting impression on me. There’s a moment where Damini, (Meenakshi) on her way to court, is chased by goons wanting to kill her. She picks up a spade and defiantly challenges them to come closer. The sheer intensity and power that Meenakshi brought to that scene gave me goosebumps.
â â BANDIT QUEEN (1994)
DIRECTOR: SHEKHAR KAPUR
STORY: The film focuses on the life of dacoit Phoolan Devi (Seema Biswas), who eventually went on to become a politician. It also highlights the sexual abuse she underwent as a member of the lower caste.
WHY I LOVE IT: How can I not list Bandit Queen (based on the book India’s Bandit Queen: The True Story of Phoolan Devi by Mala Sen) as one of my top favourites? It received an ‘Adult’ rating, which only heightened the curiosity around it. Beyond that, it truly pushed the envelope for Indian cinema on a global scale. It introduced us to incredible actors like Manoj Bajpayee, Gajraj Rao, Saurabh Shukla... But the one person who shone like a star was Seema Biswas as Phoolan Devi.
Taking on a role like that required immense courage, especially in an industry that was and still is quick to put actors in a box. The unfiltered portrayal Seema brought to the screen was revolutionary. She wasn’t just performing – she was rebelling, breaking every conventional norm to stay true to the character. Watching her in Bandit Queen filled me with pride. And of course, Shekhar Kapur, is one of our finest filmmaking minds.
I’ve admired his ability to break free from genre constraints. Each of his films is distinct and a departure from his last. One scene that has stayed with me is when Phoolan returns to her husband Puttilal’s (Aditya Shrivastava) village, drags him out of the house and kills him in broad daylight in front of everyone – making a statement that no man should marry a child. The sheer angst in the moment was so real, so electrifying, that it still shakes me.
ASTITVA (2000)
DIRECTOR: MAHESH MANJREKAR
STORY: Aditi (Tabu) and Shrikant’s (Sachin Khedekar) 27-year-old marriage is over after it comes to light that Aditi is beneficiary to the property of late Malhar Kamat (Mohnish Bahl), implying a clandestine past.
WHY I LOVE IT:
Astitva is one of my favorite Tabu films. What sets Tabu apart is her sheer stability as a performer; there’s a certain ease and lack of insecurity in the way she carries herself, both on and off screen. She never tries to prove a point or outshine anyone. She simply becomes the character she’s playing.
In Astitva, you would expect a woman in her situation to react with anger and frustration, especially in that confrontation scene with her husband played by Sachin Khedekar. But Tabu does something completely unexpected. She approaches the scene with remarkable stillness. She lets every word linger, every statement settle. As she speaks, you’re not just listening; you’re thinking, maybe even questioning. In that final take-down, she’s no longer the woman they thought they knew. She lays herself bare, not in defense but in defiance — unapologetic and heartbreakingly human. It’s not just a confession; it’s a confrontation (where she exposes patriarchy, gender bias and male hypocrisy). When Aditi finally walks away, it’s not with anger but with clarity — the kind that leaves the ingratitude of those left behind hanging in the air like smoke. A woman undone… or perhaps finally done with it all.
HIGHWAY (2014)
DIRECTOR: IMTIAZ ALI
STORY: Bride-to-be Veera Tripathi (Alia Bhatt) is abducted by criminal Mahabir Bhati (Randeep Hooda) and his men a day prior to her wedding. Far from being terrified of her abductor, Veera discovers love and liberation.
WHY I LOVE IT:
Highway is a masterful blend of human emotions and sensitivity, wrapped in compelling storytelling. It bravely tackles themes of child abuse and the Stockholm syndrome, while at its core it’s a journey of two damaged souls, Veera and Mahabir, who unknowingly become each other’s path to healing.
Imtiaz Ali crafts this story with remarkable restraint, ensuring that every moment feels organic rather than scripted. To Alia Bhatt and his credit that they maintain control over the film’s tone and pace, making it an immersive experience. Highway is the kind of film that seamlessly blends craft with emotion – while daring to explore something new. One of my favourite scenes is when Veera (Alia) tells Mahabir (Randeep) that she dreams of having her own home, nestled in the mountains – far from her posh Delhi bungalow. In his unfiltered way, Mahabir simply gestures toward the vast landscape and says, “Sab apne hee hain!” That moment, so simple yet profound, encapsulates the essence of both freedom and belonging that Highway beautifully portrays.
QUEEN (2014)
DIRECTOR: VIKAS BAHL
STORY: Rani Mehra (Kangana Ranaut), a reticent Punjabi girl from New Delhi takes off ‘solo’ on her honeymoon to Paris and Amsterdam after her fiancé, Vijay Dhingra (Rajkummar Rao), calls off their wedding.
WHY I LOVE IT:
Queen not only redefined the coming-of-age genre but also turned Kangana Ranaut into an overnight star. The premise itself was refreshingly unique: a woman, after a broken engagement, decides to go on her honeymoon alone. What a plot! The writing (Vikas Bahl, Chaitally Parmar and Parveez Shaikh) was impeccable, the songs (music Amit Trivedi) were perfectly placed and the supporting characters (including Lisa Haydon as Vijayalakshmi, a free-spirited woman of French-Spanish-Indian origin and Sabeeka Imam as pole dancer Roxette/Rukhsar) were so unabashedly carefree that you couldn’t help but root for them.
In an industry where most films play it safe, Queen dared to take the road less travelled. I l remember watching it with my mother. When Kangana’s character walks away from Rajkummar Rao’s, my mother smiled and simply said, “Achcha kiya!” In that moment, I realised the true victory of the film – it resonated across generations. That’s the mark of great storytelling.
PINK (2016)
DIRECTOR: ANIRUDDHA ROY CHOWDHURY
STORY: After being molested, Minal (Taapsee Pannu) along with her friends tries to file an FIR against a politician’s nephew (Angad Bedi as Rajveer Singh). When the powerful try pulling the strings, Deepak Sehgal (Amitabh Bachchan), a retired lawyer, steps in for the girls.
WHY I LOVE IT:
Pink is a slow-burn drama that leaves a lasting impact. The statement it made – ‘Ladki ki naa mein haan hoti hai? Nahi hoti hai. Naa matlab naa!’ – was simple yet powerful. It challenged deep-rooted patriarchal norms and power dynamics in a way that was long overdue. This film was crucial for India because cinema emerges from society and in turn influences it.
One of my favourite scenes from Pink is the courtroom confrontation where Amitabh Bachchan’s character, lawyer Deepak, asks Taapsee Pannu’s Minal if she gave consent. She firmly says, ‘No!’ What follows is his monologue about how society labels women based on its flawed morality. That scene was incredibly powerful because it shattered the notion that ‘ladki ki naa mein haan hoti hai’.
LAAPATAA LADIES (2024)
DIRECTOR: KIRAN RAO
STORY:
Two brides (Nitanshi Goel as Phool Kumari and Pratibha Ranta as Jaya Tripathi Singh / Pushpa Rani) accidentally get interchanged during a train journey. How the protagonists rediscover themselves and their identities is conveyed in a humorous and humane way against a patriarchal backdrop.
WHY I LOVE IT:
Laapataa Ladies proved that beyond star power, a well-crafted film has the ability to draw audiences back to the theatres. And to think a film this strong struggled to find distribution! What makes Laapataa Ladies work is its ability to deliver a powerful message through humour. The storytelling is simple yet effective and the writing nuanced (original story Biplab Goswami, screenplay and dialogue by Sneha Desai and additional dialogue Divyanidhi Sharma). You can tell that time and effort were invested in crafting the narrative—it reflects in every frame. Kiran Rao has shown her heft as a filmmaker. Trust Aamir Khan (co-producer) to champion such meaningful stories and bring them to light.
One of my favourite scenes is when Chhaya Kadam’s character, Manju Maai, tells Phool about the ‘fraud’ being committed against women— against ‘bhale ghar ki bahu betiyaan’ – implying how families under the guise of decorum fail to empower their women. A well-informed woman is seen as cunning, while being naïve and submissive is considered an admirable trait. That moment was thought-provoking and stayed with me long after the end credits rolled.
Also Read: “I was a little apprehensive about doing Murder Mubarak,” says Tisca Chopra
Also Read: “I was a little apprehensive about doing Murder Mubarak,” says Tisca Chopra
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