After staying away from action films for nearly nine years, actor Taapsee Pannu was eager to return to the genre. But she was clear about not repeating what she had done in her previous movies. Her long-time collaborator, screenwriter-turned-producer Kanika Dhillon knew what the actor was looking for. She came up with Gandhari. Dhillon gave Pannu a five-line narration about a mother’s extraordinary fight to rescue her kidnapped daughter. That was enough to convince the actor for their sixth collaboration, an emotionally-charged action drama set in the fictional town of Joypurra.“When I became a mother, the greatest emotion I felt was fear, for the safety of my child. That made me wonder: to what extent can a mother go to protect her child? That became the emotional core of Gandhari,” says Dhillon. Released on Netflix on Thursday, Gandhari marks Dhillon’s foray into action films as a screenwriter.Taapsee Pannu, who has previously done Baby (2015) and Naam Shabana (2017), is fairly well-versed with what is required to do an action thriller. Since the action sequences in Gandhari are raw and shoots were intensive, it required a different kind of preparation. “I had to shoot action scenes for 12 hours at a stretch every day. My endurance had to be high enough for me to recover within the limited time I had. That was what I focused on,” recalls Pannu, who practises aerial yoga regularly.To essay the character of Bani, who suffers a head injury while chasing her daughter’s kidnapper and loses her vision, Pannu had to undergo additional training. “Someone who had experienced similar blindness was appointed to teach me how this particular kind of traumatic blindness works — how much one can see and how it changes with time as the nerve recovers. I was also taught how to move around physically, how to walk, climb stairs and turn,” says the actor. These movements were incorporated in the action choreography of the film which was shot in Maharashtra’s Bhor. Taapsee Pannu as Bani Sikdar in Gandhari.From their first collaboration Manmarziyaan (2018) to talked-about Haseen Dillruba (2021) and now Gandhari, this actor-writer partnership has thrived on creating unconventional women characters. Kanika Dhillon believes Taapsee Pannu’s strength lies in her ability to inhabit characters who refuse to be neatly categorised and willingness to give her best to make her performance compelling.“What makes grey female characters, written by Kanika, stay with the audience long after the film is over is their authenticity. A section of the audience will hate Rumi of Manmarziyaan and Rani of Haseen Dillruba. Some will love them. But they cannot ignore these characters. That’s because they’re just so real and unapologetically grey,” says Pannu. Gandhari, directed by Devashish Makhija, captures Bani’s refusal to give up, even when odds are seemed stacked against her.Also Read – Gandhari movie review: Taapsee Pannu film is neither impactful nor believableStory continues below this adThere is a deep understanding that binds Dhillon and Pannu together in their creative pursuit. For Dhillon, the element of “surprise” is central to their partnership. “Taapsee surprises me with every character she takes on. That’s why I come to her with my stories,” she says. What they have in common is a passion for telling different stories and surprising their audiences. The writer shares that whole idea is to push each other to get more exciting stories.Their dark sense of humour has also made their collaborations delightful. “At least she can understand my humour and not get offended and vice-versa. Our talks, if somebody else is hearing us, might sound crazy,” says Dhillon. In spite of that they do have their disagreements. “We both are very opinionated. We agree to disagree, at times over silly things. It’s a sign of a healthy partnership,” says Pannu.Alaka Sahani is a prominent film critic and journalist based in Mumbai. With a career spanning over two decades, she has established herself as one of India’s most authoritative voices in cinematic journalism, known for an analytical approach and insights that transcend the standard cycle of celebrity journalism. Expertise & Accolades In 2014, Alaka was honoured with the National Film Award for Best Film Critic. Her Swarna Kamal (Golden Lotus) citation specifically lauded her for "highlighting facets of cinema beyond glamour and gossip" and for her ability to delve into the contemporary relevance of iconic filmmakers. Her commitment to journalistic integrity was further recognised in 2019 with a Special Mention at the Red Ink Awards for her investigative feature, 'In Search of a Star'. Her article titled 'People Like Us', published in The Indian Express on March 27, 2022, was shortlisted for Red Ink Award, 2023. Global Industry Leadership Alaka’s expertise is sought after by major international and domestic film bodies: Golden Globes: In 2025, she joined the international voting body for the 83rd Annual Golden Globes. National Film Awards: She served on the prestigious jury for the 68th National Film Awards, helping select the finest contributions to Indian cinema. Global Perspective: Her work consistently bridges the gap between commercial Bollywood A-listers and emerging independent talents, offering nuanced insights into both Indian regional cinema and international film trends. Focus & Vision Beyond the screen, Alaka is a dedicated observer of Mumbai’s vibrant theatre scene and the historical evolution of the moving image. Through her long-form articles and deep-dive interviews, she continues to challenge "tried-and-tested" templates, providing readers with a deep understanding of the artistic and systemic workings of the Indian and global film industry. ... Read More Tags:Taapsee Pannu