‘Stories should be a shoulder for the audience’: Phanindra Narsetti
Director Phanindra Narsetti talks about his soulful film 8 Vasanthalu, the strength of female roles, meaningful locations, Hesham’s music, Ravi’s comeback, and why he wants cinema to be a shoulder for audiences
Hyderabad: At a time when the rush for commercial blockbusters has overshadowed delicate storytelling, filmmaker Phanindra Narsetti stands like a lone tree: rooted, resilient, and quietly blooming. His latest film, 8 Vasanthalu, is proof that cinema with a soul can still find its place in the hearts of the audience. While the film continues its successful theatrical run, it has also begun streaming on OTT; a rare double bonanza.
In an exclusive conversation with Telangana Today, Phanindra opened up about his inspiration for the film, his fierce belief in portraying women with dignity, and why he feels responsible to create stories that heal rather than hurt.
A painting of life, inspired by women who shaped him
When asked what sparked the idea for 8 Vasanthalu, Phanindra says. “This film is not about one single event. It’s like a life’s painting,” he says. What disturbed him most was how, even today, stories rarely centre real women with depth. “Look at our industry, for thousands of films, we have one Mahanati. How many Seetharamams do we get? Once in six years? Is that enough? Women deserve better roles than just being flashy in songs,” he asserts.
He further adds, “Shakespeare, Kalidas, Valmiki, their writings show what real women are. So why are we limiting female characters to mere screen fillers? This frustrated me. I grew up around strong women. I was always exposed to women with solid personalities. These experiences shaped me into trying to see the world through their eyes. I believe you can direct any genre, but the female roles must never be degraded. That is every director’s responsibility.”
The making of Suddhi
Suddhi’s character feels like someone we know: real, layered, flawed, yet dignified. But interestingly, Phanindra says he never writes with a particular actor in mind. “If you put a face while writing, you limit the character,” he explains. “I finish the script first. Initially, I wanted Deepika Padukone and Surya for Suddhi and Sanjay. I felt Deepika could carry that powerful interval scene; where a woman who loves selflessly is rejected but still holds her dignity. I had watched her in Bajirao Mastani and others; she would have done it right.”
But film schedules and big stars didn’t align with his timelines. “Fitting big actors into my plan may become chaotic. So I thought, why not go with fresh faces? I remembered my friend had once suggested Ananthika when she was just 14. Back then, I knew I’d take two or two-and-a-half years to finish scripting. I initially even thought of casting Rinku Rajguru from Sairat, who won a National Award at 16. But when the time came, Ananthika was working on Rajahmundry Rose Milk, then her film MAD was released. I reached out to her. She read only the synopsis and said, ‘I’m ready to give up anything for this role, this is the film that will show what I’m capable of.’ She didn’t even need the full story. She’s a gem. Just see what a 17-year-old woman can do.”
Capturing eight seasons of life
The film beautifully spans eight years in a young girl’s life. Did that time span pose challenges? “Not for the central characters: Suddhi, Sanjay, Varun, their journeys were clear. But I’d written 12 vasanthalu originally, so doing justice to the supporting characters too was the real challenge,” he admits. “Each one, the friends, the Master, the mother, they all needed weight. There must be a balance. Matching the supporting characters’ depth to the prime ones was the hardest part.”
Ravi Duggirala’s comeback
One of the warmest moments for fans has been seeing Ravi Duggirala back on screen. “Ravi had already returned to India and was trying out for films for about eight months. I first gave him Karthik’s role (friend played by Kanna Pasunoori). Later, I shifted him to Sanjay’s part. I had worked with him in Madhuram, so I knew he was perfect for Sanjay: a composed, language-rich character.”
Locations chosen with heart and meaning
From Ooty to Kashmir to Varanasi, 8 Vasanthalu looks stunning on screen, but each place holds meaning far deeper than visuals alone. “Kashmir is always shown with snow, I chose fall season instead, when leaves shed. That was my metaphor for a love story that wouldn’t last. I wanted to capture that truth,” Phanindra explains. “Ooty felt timeless. My story stretches from 2013 to 2020. If I shot in Hyderabad, the city would change every five years. The audience wouldn’t feel connected. But Ooty is the same even after 40 years; a place that stays still in time.”
Then comes the spiritual layer. “Varanasi is every Hindu’s dream for salvation, merging ashes in the Ganga. So Suddhi’s journey takes her there. Agra, the Taj Mahal, a monument of love, is in the same state. It was her dream to see it, so it felt right. These thoughts come from something pure, that’s what I wanted to show the audience.”
Music that found its moment
Hesham Abdul Wahab’s music breathes life into the film’s poetry. “Both songs are my favourites. There’s a small story; Hesham first tuned Paricheyamela to a Hindustani raga called Rag Manj Kamanj. But I wanted something like a champagne bottle popping, not mellow. So he came back with Andhama Andhama. People loved it,” Phanindra recalls. “Later, we needed a beautiful Carnatic-style song. Hesham showed me the old tune with visuals (portions where we wanted to fit the song into), and it just clicked. Some songs are destined, if they’re meant for you, they find you.”
When slow becomes soulful, and a story heals
Some might find the pace slow, but Phanindra wears that like a badge of honour. “People are used to testosterone-fuelled, alpha-male stories. A gentle film swims against that storm. But when the audience still chooses to watch 8 Vasanthalu in theatres, though it’s on OTT, that means so much to me,” he says.
Nothing sums up the film’s impact better than the most touching message he received. “A girl who lost her mother six months ago was in deep trauma, she was cut off from the world. Her brother saw one of my interviews and wanted to know why I’m so confident.
He took her to the theatre. She didn’t want to go at first. But she watched the film, and then she reactivated her Instagram just to send me a virtual hug. She shared everything she’d been through. I know how it feels to open up to a stranger like that. That one message, it stays with me.”
‘Stories should be a shoulder’
So what’s next? Surprisingly, he once planned a crime film. “I wanted to show not just flowers and love but bloodshed too. But after 8 Vasanthalu, I changed my mind. There’s so much pain in the world. People are searching for hope. Why should I add more darkness when I can offer light?” he reflects.
“I’m working on three stories now: one love story, two heartfelt ones. I’ll pick what feels most responsible. I want the cinema to be a shoulder for the audience. To make their day feel better. That’s what I’m searching for now: stories that touch, heal, and stay long after the credits roll.”
In a world hungry for noise, Phanindra Narsetti’s quiet conviction reminds us that the simplest stories, told with heart, can be the loudest echo of all.
