The hallmark of a great horror film lies in its ability to reflect the socio-political injustices of the real world. After all, ghosts are often most terrifying when they are visible in plain sight, Lurking in mundane spaces, claiming far more than just lives. This is precisely the terrain that Dahini: The Witch, a supernatural thriller written and directed by Rajesh Touchriver and starring Tannishtha Chatterjee and JD Chakravarthy, explores.The film, which has garnered acclaim at several international film festivals, is inspired by the sinister practice of witch hunting. Its horror, however, is layered: the supernatural elements serve as a lens through which multiple social and cultural interpretations can emerge. In this sense, subtext becomes Dahini’s most powerful weapon.In an exclusive conversation with SCREEN, Chatterjee, Chakravarthy, and Touchriver discuss what inspired them to make the film, the challenges of producing an independent feature against all odds, and whether the current theatrical landscape still has space for such a provocative and socially conscious work.Edited excerpts for clarity and brevity Rajesh, what inspired you to develop a story around witch hunting? Was there a moment that sparked the idea?Around 2007–08, while shooting a documentary in Odisha, I overheard a police officer talking on the phone about witch hunting. When I asked him, he said it still happens regularly, three to four cases every month. That struck me. It took years to bring the story to the screen, but by 2025, the urgency remained. Women are still being branded as witches and killed in parts of India, West Bengal, Rajasthan, and even in other countries. No one had really explored this subject in film, and that also motivated me to tell the story.Tannishtha and JD, when you first heard about the film, what were your thoughts? Were you familiar with witch hunting, or did the project reveal something new?Tannishtha: I had encountered local myths about witches while shooting a film in Odisha before, including a true story of a woman ostracized for being labelled a witch. In our country, similar stigmas, like abandoning children considered unlucky, still exist. So when I read the script, I was immediately drawn to it.Story continues below this adJD: Rajesh and I have been friends for a long time, and he often shares ideas with me. When he brought this script, I was familiar with the issue, but the way he had written it left me no choice but to say yes. He even offered me another project with one of my favorite actresses in Australia, but I chose this because it was a strong and important story that needed to be told.What stood out about the film is its incredibly realistic tone. It feels less like a traditional horror movie and more like a social cautionary tale. Was that your intention from the start?Tannishtha: Absolutely. The realistic approach suited the subject perfectly. Everything was shot on real locations, no sets, no electricity at times. We often had to walk in heavy rain, and the handheld camera work and low lighting created a very authentic atmosphere. As actors, we had no choice but to respond naturally to the environment.Rajesh: We deliberately avoided a cinematic style because a polished look would distance the audience from the reality of these events. The goal was to make it feel more like a documentary, something real happening in the world around them.Story continues below this adThe film has been making the festival rounds for some time. What about its eventual theatrical release?Rajesh: We’re working on it, but the industry has changed a lot. Theatrical distribution remains complex, especially for independent films. We don’t want to release it in just a few theatres, it needs to reach the people whose stories it’s telling. Even OTT platforms now prefer films with superstars, which makes it even more challenging for projects like this.Tannishtha, you made Roam Rome Mein starring Nawazuddin Siddiqui in 2019, but it’s still not widely available. Any update on that?I have no idea, as the film is with Eros, the producers, and I’m not sure what they’re doing with it. Since then, I’ve completed another film, Full Plate, which premiered at Busan, won me the Visionary Director award, opened the Sydney Film Festival, and will play in Dharamshala later this month. Regarding Roam Rome Mein, things went wrong with Eros, and the film remains with them. I feel that festivals should act as distributors too, because there’s a large audience for such films, but traditional distributors, including OTT platforms, act as gatekeepers, often decide what reaches viewers, leaving many such projects unseen.Story continues below this adAlso Read | Neeraj Ghaywan’s sophomore feature Homebound uses belonging as a smokescreen to reveal how this is no country for the marginalizedJD, earlier this year Ram Gopal Varma tweeted that when he rewatched Satya, he felt he wasn’t being true to himself and had lost his way mid-career. What are your reflections on working with him and the impact of that film on your career?I’m glad Satya was re-released, not just for audiences to experience it its full glory, but because it gave Ramu Ji a chance to reconnect with himself creatively. I’ve been associated with him since his first film, Shiva, and we still talk regularly. I wouldn’t say he lost his way; perhaps he lost some patience along the way. Now, I see the same Ramu Ji we all admired. Recently, he told me the biggest mistake in Satya was killing the character. He believes the story should have ended with him being sent to Dubai along with Vidya, rather than dying. I disagreed, of course, but he feels the ending could have been different. He also said that now nobody will agree with him that the ending should have been different, as the film has become a cult classic.Tannishtha, earlier this year you shared your journey battling cancer. Is there something you’d like to tell share about that experience?Story continues below this adI’m still undergoing treatment, and the future is uncertain, even my doctors can’t say. I’m taking each day as it comes, focusing on living fully and doing what I love. As an artist, expression is vital, and I’m currently working on a performance piece that I’ll present at the end of January next year. I’m also promoting Full Plate at festivals, and Dahini is also travelling all across, so things have been happening. When I reflect on cancer, I realize how close it is to all of us and how unpredictable life can be. Even with a healthy lifestyle, I don’t smoke or drink, things happen beyond our control. Sometimes it’s the environment, the air we breathe, the food we eat, or factors we can’t influence.