‘Mayasabha should have been shut down at least 50 times’: Rahi Anil Barve says it’s extremely risky to create original stories

Rahi Anil Barve said that no matter how many signatures you gather from fellow filmmakers, or how much support and advocacy you rally for your indie film, the reality is that nothing will truly change.

3 min readMumbaiJan 29, 2026 04:15 PM IST

Rahi Anil Barve previously directed Tumbbad, and now helming Mayasabha.

Rahil Anil Barve's Mayasabha might haunt with mythology, but the only religion of the world is materialism, and the only devotion is to wealth.

Just a few months ago, as Kanu Behl’s Agra was finally ready for its India release, the director had to publicly seek support. The film was struggling to secure screens across the country, as much of the prime slots had already been allocated to commercial biggies. What started as a simple tweet asking for help from multiplex chains soon grew into a small movement of sorts, with several independent filmmakers (such as Payal Kapadia, Rima Das, Arati Kadav, Vasan Bala, and Chaitanya Tamhane, among others) joining Behl to fight the inequities that indie films face every week. However, recently, Rahi Anil Barve, gearing up for the release of his next film Mayasabha, slated to hit theatres this Friday, expressed a more sombre view on whether things are truly changing, even as he fully supports his fellow filmmakers.

In an exclusive chat with SCREEN, Barve said, “I know one thing for sure: nobody wants to support you. That’s why I didn’t make any noise. This is a blazing iron we chose to hold ourselves. We are indeed very well aware of the problems that come with making such films. And somehow, I was prepared for it and knew the situation would end up like this.” Talking about the struggle he faced while making Mayasabha, he added, “The film had no backing at all. God only knows how it got made. Sometimes I’m shocked because this film should have been shut down at least 50 times. So now, no matter how much you shout, how much support you try to get, even if you get 100, 150, or 300 signatures, it’s not going to change anything.”

Rahi Anil Barve clarified that Mayasabha is entirely distinct from his previous cult classic, Tumbbad.

Also Read | Tumbbad director spent five years making one of the biggest OTT shows, Gulkanda Tales, now stuck in limbo: ‘I can’t show a single image of it’

He continued, “The only thing that will sustain this film is word of mouth. That’s why it’s important that audiences know over Friday, Saturday, and Sunday that this film is playing in theatres. For that, PR is essential, and you can see how we are battling for it. All of this is part and parcel of the choice we made. We are not nervous or scared at all. This is a risk we have consciously taken. We know that the film will outlive every one of us. We don’t want to tell 50 people in the industry to start spreading the word. Not at all. We are very proud of the experiment we are doing, and the fact that it is coming to theatres on 500 to 600 screens.”

Rahi Anil Barve also reflected on the challenge of making something truly original in today’s industry: “The trailer and teaser show that Mayasabha is its own beast. It doesn’t give the illusion of Tumbbad. Whatever Mayasabha is, it is original. The characters are original. And it is extremely risky to create something original in today’s times. Otherwise, we wouldn’t be in such a state as an industry.”

Anas Arif

Anas Arif is a prolific Entertainment Journalist and Cinematic Analyst at The Indian Express, where he specializes in the intersection of Indian pop culture, auteur-driven cinema, and industrial ethics. His writing is defined by a deep-seated commitment to documenting the evolving landscape of Indian entertainment through the lens of critical theory and narrative authorship. Experience & Career As a core member of The Indian Express entertainment vertical, Anas has cultivated a unique beat that prioritizes the "craft behind the celebrity." He has interviewed a vast spectrum of industry veterans, from blockbuster directors like Vijay Krishna Acharya, Sujoy Ghosh, Maneesh Sharma to experimental filmmakers and screenwriters like Anurag Kashyap, Vikramaditya Motwane, Varun Grover, Rajat Kapoor amongst several others. His career is characterized by a "Journalism of Courage" approach, where he frequently tackles the ethical implications of mainstream cinema and the socio-political subtext within popular media. He is also the host of the YouTube series Cult Comebacks, where he talks to filmmakers about movies that may not have succeeded initially but have, over time, gained a cult following. The show aims to explore films as works of art, rather than merely commercial ventures designed to earn box office revenue. Expertise & Focus Areas Anas's expertise lies in his ability to deconstruct cinematic works beyond surface-level reviews. His focus areas include: Auteur Studies: Detailed retrospectives and analyses of filmmakers such as Imtiaz Ali, Anurag Kashyap, and Neeraj Ghaywan, often exploring their central philosophies and creative evolutions. Cinematic Deconstruction: Examining technical and narrative choices, such as the use of aspect ratios in independent films (Sabar Bonda) or the structural rhythm of iconic soundtracks (Dilwale Dulhania Le Jayenge). Industrial & Social Ethics: Fearless critique of commercial blockbusters, particularly regarding the promotion of bigoted visions or the marginalization of communities in mainstream scripts. Exclusive Long-form Interviews: Conducting high-level dialogues with actors and creators to uncover archival anecdotes and future-looking industry insights. Authoritativeness & Trust Anas Arif has established himself as a trusted voice by consistently moving away from standard PR-driven journalism. Whether he is interrogating the "mythology of Shah Rukh Khan" in modern sequels or providing a space for independent filmmakers to discuss the "arithmetic of karma," his work is rooted in objectivity and extensive research. Readers look to Anas for an educated viewpoint that treats entertainment not just as a commodity, but as a critical reflection of the country's collective conscience. ... Read More

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