Film director Devashish Makhija, whose recent work “Gandhari” is now available on Netflix, has navigated a challenging path in the Hindi film industry. In a recent interview, he reflected on a three-film agreement he had with Yashraj Films (YRF) that ultimately did not materialize, admitting that he spent nearly ten years second-guessing his choice to leave the deal until the release of his debut film, “Ajji,” in 2017.
During a discussion on Rediff Originals’ YouTube channel, Devashish recounted his arrival in Mumbai from Kolkata in the 1990s with only Rs 700. He spent his first three nights sleeping at Goregaon station, unfamiliar with the city and lacking connections. He managed to access a directory called the “Film Directors Index,” which contained the contact numbers of various film directors, and made around 100 calls from public payphones. This effort led him to connect with Anurag Kashyap, who offered him an opportunity to work on “Black Friday.” Devashish contributed to the film by structuring the script and assisting with research, which eventually led to his role as an assistant director for Shaad Ali on “Bunty Aur Babli” (2005).
“I truly dove into the deep end, and that experience served as my film school,” he stated, noting that his friendship with writer Jaideep Sahni, who was involved in Ali’s project, opened the door for a three-film contract with Aditya Chopra at YRF. At the age of 27, he celebrated this as a significant achievement. The first project was intended to be an animated film following “Roadside Romeo” (2008), part of YRF’s collaboration with Walt Disney.
However, the failure of “Roadside Romeo” led to the cancellation of Devashish’s film, which he believed relied on the success of the former. “I was in production for three years, but when ‘Roadside Romeo’ flopped, they shelved my project,” he explained, mentioning that it was likely the first film to be shelved at YRF. Following this setback, the partnership between YRF and Walt Disney dissolved, prompting Devashish to exit his contract.
“I lost three years in that venture,” he remarked, adding, “I decided to leave. Having already lost that time, I felt it was best to move on. If I wanted to return, I could, but I had other stories to tell.” He then traveled through Andhra Pradesh, Odisha, and Chhattisgarh to gather inspiration from tribal communities, which ultimately influenced his film “Joram,” featuring Manoj Bajpayee.
Devashish expressed that if his YRF project had been produced, “I might be making films akin to those by Manish Sharma or Ali Abbas Zafar, albeit in my own style.” The dissolution of the YRF deal troubled him for several years, and he spent a decade contemplating whether he had made the right choice. “It was outside my control when it got shelved, but walking away felt correct. For a couple of years, I wondered if I should have stayed; my films weren’t getting made,” he admitted.
“With every passing year, I questioned if I had made an error. Perhaps two of my films could have been produced. I was still striving to get my first film made,” he recounted, revealing that it took until 2016, a decade after leaving YRF, for “Ajji” to come to fruition.
In a conversation with Pranav Chokhani in 2024, Devashish revealed that he was struggling financially and had been unable to pay his rent for nearly five months. At over 40 years old, he lamented, “I can’t even afford a bicycle.” Following the release of “Joram,” which did not yield the anticipated financial results, he found himself in a dire financial situation. The film, produced on a budget of Rs 1 crore, earned only Rs 16 lakh, despite being backed by Zee Studios.
In a 2025 discussion with SCREEN, Devashish noted that “Gandhari” faced the threat of being shelved four times during its preparation. “Each time, we had to tighten the budget and reduce the filming schedule. My team underwent changes, with some key members leaving. A few of us stood firm against shelving it, insisting on further budget cuts. It’s a story set in Bengal, but I transformed it into a Maharashtra backdrop. Every morning, I woke up determined to ensure the film wouldn’t be shelved that day,” he explained.
Devashish acknowledged the various challenges he faced in his career. Despite numerous setbacks, he had never taken out loans until he decided to fund his film. “I’ve battled prostate cancer, and my father succumbed to Alzheimer’s and Parkinson’s while my mother died of cancer. Throughout my early struggles in Mumbai, I never took a loan. It’s ironic that I resorted to one for a film,” he said, adding, “’Joram’ nearly ruined me financially. While Zee funded it, I produced it, and it turned into a financial disaster. I still bear the pressure of repaying debts and seeking work to cover those costs. I’m entangled in legal issues.” He expressed hope that he would resolve these debts within the next 18 months, stating, “All the income I’m generating is directed towards paying them off.”
Devashish has previously directed films such as “Ajji” (2017), “Bhonsle” (2018), and “Joram” (2023), but “Gandhari” marks his first directorial project based on a script by another writer, Kanika Dhillon.
DISCLAIMER: This article contains personal accounts of financial difficulties, health challenges, and family losses shared for editorial and informational purposes. The experiences and opinions expressed are individual narratives and do not represent professional financial, legal, or medical advice. Readers experiencing similar issues are encouraged to consult qualified professionals for assistance.
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