‘I’ve personally reached a phase where I don’t chase age-appropriate labels. I chase interesting characters.’
Key Points
- ‘Everything I know about acting, cinema and this profession has been learnt on the job.’
- ‘The India Story isn’t trying to scare people, it encourages awareness, accountability and informed choices.’
- ‘The South industries are often known for their discipline, planning and efficiency, while Hindi cinema brings together incredible diversity in storytelling and creative collaboration.’
After nearly two decades in cinema, Kajal Aggarwal is entering a new phase of her career, one where meaningful stories matter as much as memorable performances.
In her latest film, The India Story, the actor takes up a story that is both ‘engaging and socially relevant’.
She tells Subhash K Jha, “If a film starts conversations, encourages people to ask questions or even changes one family’s habits, that’s a wonderful outcome.”
From Lakshmi Kalyanam (2007) to The India Story, how do you look back at your journey as an actor?
I look at it with immense gratitude. When I started, I was a teenager with big dreams and no film background.
Everything I know about acting, cinema and this profession has been learnt on the job.
Over nearly two decades, I’ve worked across languages, genres and with some incredible filmmakers.
Every film, whether successful or challenging, has shaped me.
Today, I don’t measure my career by the number of films I’ve done, but whether I’m still evolving, whether I’m still excited to go to work and whether I’m choosing stories that leave something behind.
The India Story represents that phase of my career, where purpose is just as important as performance.
‘Not every film has to carry a social message’
What made you say yes to The India Story?
The subject. Food adulteration, excessive pesticide use and the long-term health impact on families are issues that affect every one of us.
We all eat food every day, yet very few of us question where it comes from or what goes into it.
The film isn’t trying to scare people, it encourages awareness, accountability and informed choices.
As an actor, it’s rare to get a script that’s both engaging and socially relevant.
Doing an issue-based project, do you think actors have a responsibility towards their audience?
I think actors have influence, and influence comes with responsibility. Not every film has to carry a social message; cinema also exists to entertain.
But when a meaningful story comes your way and it’s told well, I think it’s worth being a part of.
If a film starts conversations, encourages people to ask questions or even changes one family’s habits, that’s a wonderful outcome.
‘My son is beginning to understand that Mama goes to work just like Papa does’
What was it like shooting with Shreyas Talpade in The India Story?
It was a wonderful experience. Shreyas is an extremely prepared as well as instinctive actor.
We had to perform emotionally intense courtroom sequences, and having a co-actor who listens and reacts truthfully elevates every scene.
Off-screen too, he brought a lot of positivity and professionalism to the set.
How do you divide your time between work and your son? Does he understand that Mama has to work?
Motherhood changed my priorities, not my passion, but definitely my perspective. I’m much more mindful about the projects I choose and how I schedule them.
Quality time has become more important than quantity.
My son is beginning to understand that Mama goes to work just like Papa does.
Children may not understand our profession, but they understand love, presence and consistency. So whenever I’m with him, I try to be completely present.
‘Artists, technicians and audiences are embracing Indian cinema as one ecosystem’
You’ve worked in both the Telugu and Hindi industries. What differences do you see in their work culture?
I’ve been fortunate to work across several industries, and honestly, every film set develops its own culture.
The South industries are often known for their discipline, planning and efficiency, while Hindi cinema brings together incredible diversity in storytelling and creative collaboration.
Today, I feel those boundaries are becoming smaller. Artists, technicians and audiences are embracing Indian cinema as one ecosystem, and I think that’s a positive shift.
Do you find ageism difficult to deal with? Heroes remain leading men into their 70s, while women are judged differently.
I think the conversation is changing, and that’s encouraging. Yes, historically, expectations from women have been different.
But today, audiences are far more accepting of women leading films at every stage of life.
I’ve personally reached a phase where I don’t chase age-appropriate labels. I chase interesting characters.
If the role excites me, challenges me and contributes to the story, that’s what matters.
I also believe that longevity comes from continuously evolving rather than trying to remain the same forever.
Women don’t have an expiry date; good stories don’t either.
‘Audiences leaves the theatre thinking about what they’re feeding their families’
Among all the films you’ve done, which ones do you consider most important to your career?
Every phase of my career has a film that changed something for me. Lakshmi Kalyanam gave me my start.
Magadheera expanded my reach.
Thuppakki, Special 26 and several others allowed me to explore different genres and audiences.
Now, The India Story feels significant because it represents where I am today: Choosing stories that entertain while also asking important questions.
I hope audiences leave the theatre not just moved by the film, but also thinking about what they are feeding their families.
Photographs curated by Manisha Kotian/Rediff
