From grandma’s tales to global cinema: Sanya Sagar’s many roles

Sanya Sagar’s love for stories began in her grandmother’s living room, not on a film set.

“As a child, I was captivated by her sher ki kahaniya. I could see the scenes playing out in my head,” she recalls.

Books followed—Enid Blyton, Panchatantra, Goldilocks—and soon, she was writing her own stories during school breaks. In kindergarten, she performed in Cinderella as the Fairy Godmother, complete with memorised lines.

Her love for cinema began early. “Godzilla was the first film I saw in a theatre. I was hooked,” she says. Titanic followed soon after, deepening her fascination.

Growing up, she devoured The Sound of Music, Honey, I Shrunk the Kids, Hitchcock thrillers, and Pakistani serials. “I’d wait eagerly for the end credits, just to see behind-the-scenes glimpses. That’s when I knew I wanted to be part of that world.”

Wearing many hats

Sanya works across the filmmaking spectrum—writing, directing, producing, editing, and acting.

“If filmmaking is a cake, each role is an essential ingredient,” she says.

She started out shooting stills at music festivals, then taught herself Adobe Premiere Pro to edit video. Later, she worked as an assistant director at Sudhir Mishra Productions and trained formally at the London Film Academy.

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“Most want to direct first. I built a core skill—editing, and sometimes sound,” she says.

Sound, she notes, is often overlooked. “Working on a ten-channel SQN664 machine taught me how crucial it is.”

She approaches each job with full focus. “When I’m on sound, I don’t think like a director. When I’m writing, I don’t think like an actor.”

Still, acting remains her first love. “Theatre deepened that passion. It’s the hat I enjoy wearing the most.”

Visual style and influences

Her visual style blends fashion, art, and instinct.

“I studied Rembrandt’s use of light, Van Gogh’s colour, and Dali’s surrealism,” she says. “I prefer handheld shots—they feel more alive.”

Classical music, too, is part of her creative process. “My film school mentor introduced me to it. A simple overture can transform a scene.”

Becoming Tanya

In Crimson Red, Sanya played Tanya, a glamorous and bold character far removed from her own persona.

“I saw Tanya as a diva who owns her sexuality. At first, I wasn’t sure I fit the part—I’m more messy and spontaneous,” she says. But director Cunal’s faith convinced her to take the leap.

The emotional arc challenged her. “Moving from muse to prey required restraint and strength. It changed me, both on and off screen.”

She felt transported on set. “Sometimes it felt like I was in a dark room, just listening. That immersion helped me stay connected to the role.”

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Her co-star Siddhant Karnick, she adds, elevated the experience. “I deeply respect his craft.”

A global outlook

Sanya has worked across India, the UK, Germany, and elsewhere.

“Each place tells stories differently—Hollywood thrives on slapstick, British humour is dry, Indian cinema leans on emotion, Iranian films are poetic,” she says.

These global styles inform her work. “I approach every project with a wide lens. It helps me tell fuller stories.”

A woman on set

“When I started, women were few and often ignored,” she says. “I had to be vocal just to be heard.”

Double standards were common. “Men are assumed to be competent. Women have to prove it first.”

She was often underestimated. “People doubted I could manage a crowd or handle gear. That changed only after I showed what I could do.”

She’s also dealt with blurred professional boundaries. “Some tried to cross lines. But I’ve learned that self-respect and resilience matter.”

The OTT shift

“OTT changed everything. It gave legal access to great cinema,” she says. “But it also diluted the theatre experience.”

Budgets shrank, production quality dipped, and people stopped going to the movies unless it was a blockbuster.

“We need a stronger system that values both formats equally,” she says.

On screen, off screen

From Article 370 to Party Till I Die, Sanya enjoys playing contrasting roles.

“From an officer to a party girl, I loved both. Variety keeps me growing,” she says.

Working with veterans like Mohan Agashe and Divya Seth was a masterclass. “Their humility and rigour taught me how even small moments can make a big impact.”

The swimmer’s story

In Tairaki, she plays Shipra, a small-town swimmer denied her shot at glory.

“As a former national tennis player, I know how non-cricket sports are treated,” she says. “This story hit home.”

Learning from legends

She’s worked with Wes Anderson, Salma Hayek, and Danny Huston.

“Salma’s humility, Danny’s calmness, and Wes’s eye for detail—all left a mark,” she says.

Untold stories

One story she’s eager to tell is of Dr Savita Ambedkar.

“She was brilliant but misunderstood. Her story matters,” she says.

Delhi bites

Though raised in Lucknow, Delhi is her food capital.

“GK Momos, Bara Kebabs, Chicken Lababdar—those are my comfort foods,” she says. “Mughlai cuisine is essential for my brain to work properly!”