Shahana Goswami is among the rare actresses whose career reflects collaborations with quite a few renowned female directors such as Nandita Das, Mira Nair, Deepa Mehta, Reema Kagti, Rima Das, and Rubaiyat Hossain. With every role, she reinvents herself on screen—whether it’s the fearless Meenakshi Chatterjee in A Suitable Boy or the layered Sridevi in the more recent Four Years Later. The Australian–Indian romance drama, co-created by Mithila Gupta, directed by Mohini Herse and Fadia Abboud, premiered in India on Lionsgate Play on July 11, 2025, exploring love, distance, and cultural contrasts between Jaipur and Sydney.
In an exclusive conversation with The Movie Mail, Shahana discusses embodying free-spirited women, the transformative power of costumes, working with trailblazing female filmmakers, and her evolution as a performer, while reflecting on her award-winning film, Santosh, and why freedom of expression matters now more than ever.
Edited excerpts:
As an actress, how did your emotional fabric resonate with that of Sridevi, the character you portrayed on-screen?
A. I connect deeply with her free-spirited nature. Growing up in Jaipur, I understand the quiet rebellion she embodies—challenging norms without aggression. She’s independent yet rooted in her femininity, visible in her sarees and the graceful way she drapes them. Her little habits make her relatable to every girl we know.
The key difference between us lies in her fears. She worries about growing old alone and wants a husband and children. I don’t share that fear because my friendships are my family. While I am close to my blood family, my friends are equally important, and I never feel alone. Romantic relationships can never overshadow them. That, I believe, is the defining difference between Sridevi and Shahana.
We love the way she’s dressed in the show—feminine yet rebellious! Was that intentional?
A. Absolutely. Our director-writer and showrunner, Mithila Gupta, designed her that way. She wears colourful handloom sarees but always with a quirky twist—like draping one over a shirt. She’ll tuck a flower behind her ear yet keep the makeup minimal. Even in Australia, she wears her jhumkas. Her look reflects both her feminine energy and her Indianness, which I loved.
As we’re talking about the character’s look, how important is it for you as an actor to enhance your performance through it?
A. Oh, everything! If hair, makeup, and costume are done right, half my job is already done. Then I’m no longer Shahana—I am the character. My energy, body language, even how I feel my face, all shift. From there, the character emerges, and the script guides me. In my film Santosh, just wearing the uniform did half the work. My body language changed the moment I put it on; I could feel the spirit of the character take over.
So, which is your favourite dressed character?
A. Without a doubt, it’s Meenakshi Chatterjee from A Suitable Boy. Honestly, everyone in that show looked stunning! Every saree, every look—Tabu, Taniya, me—we all looked beautiful. I wish I had kept one of those sarees, but I forgot! Now I feel like calling Mira di (Mira Nair) and asking her for one (laughs). But truly, I felt so sexy as Meenakshi. I loved it!
Since the series spans both India and Australia, how did you bring the two socio-cultural worlds into your character and performance?
A. That’s interesting! Sridevi, though free-spirited, feels stifled in India and blossoms in Australia. Yash, on the other hand, feels homesick in Australia and longs to return to India.
You’ve been acting for a long time. In what ways have you seen yourself evolve as a performer?
A. I’m not the same performer I was when I started. Life changes you, and that shows in your work. Technically, I’ve learned to slow down. Earlier, I’d rush through dialogues, thinking I was “eating up footage.” With experience, I’ve learned to hold the word, hold the moment, and breathe.
Most importantly, I’ve learned the power of being present. I can’t over-intellectualize my prep; I’m not a heavily trained actor. I work best when I’m fully present on set. And I believe you have to live life to portray life—you can’t just keep working nonstop and expect authenticity to appear on screen.
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It’s interesting that in your career you’ve worked with so many female filmmakers. It almost feels like gender equality exists in your world…
A. (Laughs) Oh yes, absolutely! I think nearly 50 percent of my films are with female directors, and the rest with male directors. I’ve worked with Nandita Das twice, Rubaiyat Hossain twice, Reema Kagti, Rima Das, Deepa Mehta, and Mira Nair—some of the greatest female filmmakers in the world.
I think women directors often seek a certain projection of women on screen, and they believe I can bring that alive. Maybe I don’t always fit into the template of how some male filmmakers portray women. That said, I’ve also worked with wonderful male directors who are equally sensitive.
Lastly, did it break your heart to know that an award-winning film like Santosh, where you play the title character, is not getting a theatrical release due to censorship?
A. Let’s just say it’s not releasing yet—and I’m stressing yet because things are still in process. Did I feel bad? Of course, I did, and so did the film-loving community. The essence of art is freedom of expression. The CBFC should give certifications with age ratings rather than deny a certificate altogether. This is a democratic country. Rate the film, give warnings if needed, but don’t destroy its core with cuts! My gut tells me that by the end of this year, we’ll see light. I’m praying for that.
