In the gripping, restrained world of Santosh, Shahana Goswami delivers a performance that is both quietly powerful and deeply moving. The film, directed by Sandhya Suri, explores the journey of a woman stepping into a traditionally male-dominated space, intertwining themes of power, grief, and agency. As the titular character, Goswami brings a nuanced vulnerability to the screen, guiding the audience through the intricate layers of Santosh’s transformation. With the film receiving global acclaim and making it onto the Oscars shortlist, Goswami reflects on what drew her to the project, the challenges of inhabiting a complex character, and the larger conversations the film sparks about women navigating systems of power.
For Goswami, the heart of Santosh lies in its unflinching exploration of power, how it shapes societies, perpetuates inequalities, and impacts the human experience. “What drew me to the film was how it explores various themes through the lens of power how power creates segregation, manipulation, inequality, and oppression,” she explains.
Rather than offering a moralistic perspective, the film takes a step back to examine the larger forces at play. For Goswami, Santosh’s journey of self-discovery amid shifting power dynamics was particularly compelling:
“Her journey starts with a sense of powerlessness, dealing with loss and dependency on two families and evolves as she finds her own power,” she reflects.
To prepare for the role, Goswami immersed herself in the emotional and psychological landscape of Santosh. But the script, she says, already did much of the heavy lifting. “From the scripting stage, the film seamlessly wove complex themes and ideas into the narrative in a natural way,” she says. “These complexities were discussed in depth with Sandhya, Sunita, and I particularly the conflicting emotions and motivations within Santosh.”
This collaborative approach allowed her to bring authenticity to a woman observing the world and reacting in real time. “It made it easier to play someone who is experiencing these power shifts firsthand rather than carrying the weight of a past,” she adds.
The film’s setting in rural North India provides a vivid backdrop for its exploration of gender
roles and societal hierarchies. Goswami, who was born and raised in Delhi, found the setting intimately familiar. “Growing up in the North as a woman, you develop a thick skin, a kind of outward toughness,” she notes. “While still holding onto hope, curiosity, and innocence, there’s a constant need to harden your outer layer to feel safe and assert yourself.”
Yet, while the specifics are rooted in Northern India, the film’s themes transcend geographic boundaries. “I realised this once the film gained global appreciation,” she says. “Its core themes resonate with audiences, regardless of their background. In the end, it’s the human connections and experiences that make the story universally relatable.”
For all its quiet moments, Santosh does not shy away from depicting violence-a challenge for Goswami in more ways than one. “I’ve never been physically aggressive, and I have a strong aversion to violence, so I was nervous about how I would approach violent scenes.”
By contrast, a quieter but equally potent scene left a lasting impression on her. “When I first read the script, I found some incredibly subtle yet effective scenes. There have been powerful moments, where I’ve remembered thinking, ‘I wish I’d used this tactic in my own life.'”
The film’s international success represents more than personal triumph for Goswami
it signals a broader shift in how South Asian narratives are told and received globally. “Films like Santosh, All We Imagine As Light, and System Midnight, co-productions between Europe, the UK, and India have created a beautiful range of storytelling,” she observes. “I believe we’re seeing the beginning of a new wave of Indian co-productions, building on the success of these films in the international arena.”
For Goswami, this is an exciting and necessary evolution. “India is incredibly diverse and culturally rich, yet its true diversity is often underrepresented globally,” she says. “This presents a great opportunity for more authentic, untold stories from India to be seen and appreciated worldwide.”
At its core, Santosh is a film about power how it is wielded, who it serves, and how it transforms those who possess it. For Goswami, these themes extend far beyond the screen. “When it comes to women’s empowerment, we must be cautious not to swing too far in the opposite direction, creating exclusivity,” she reflects. “The aim should be to empower, not to exclude men or pedestalise women.”
She is particularly thoughtful about how women in power navigate systems shaped by patriarchy. “It’s crucial for women in power to examine whether they’re replicating the same power dynamics that oppressed them,” she says. “We need more nuanced conversations about these issues to ensure a true equilibrium.”
As Santosh continues to captivate audiences worldwide, Goswami hopes the film inspires deeper reflection on power, agency, and the human condition. “Some part of me was unlocked through Santosh,” she says. “And I hope it unlocks something for others too.”
