In her feature film debut, Dhadak 2, director Shazia Iqbal harnesses the emotive power of mainstream Indian cinema to deliver a poignant critique of caste discrimination. Inspired by the socially charged narratives of 1990s Bollywood classics like Deshpremi and Krantiveer, Iqbal blends commercial storytelling with a bold social message. Now streaming on Netflix following a successful theatrical run in August 2025, the film uses the romance and friendship between two law students, portrayed by Siddhant Chaturvedi and Tripti Dimri, to expose the pervasive nature of caste-based prejudice in everyday life.

Iqbal, a former architect turned filmmaker, draws inspiration from both Indian and international auteurs who challenge societal norms through cinema. Citing filmmakers like Shyam Benegal, Saeed Mirza, Spike Lee, and Jordan Peele, she told PTI, “I wanted to use the grammar of mainstream cinema to say something important.” Her cinematic influences, rooted in films featuring Amitabh Bachchan’s anthems of communal harmony and Nana Patekar’s stirring monologues, shaped her vision for Dhadak 2, an adaptation of Mari Selvaraj’s Tamil film Pariyerum Perumal. Iqbal reimagined the narrative for a Hindi-speaking audience, infusing it with her unique perspective, particularly by amplifying the agency of the female protagonist, played by Dimri.

The journey to Dhadak 2 began when Somen Mishra of Dharma Productions, impressed by Iqbal’s 2019 short film Bebaak, shared it with producer Karan Johar. Recognizing her sensitive lens, Johar and Mishra entrusted Iqbal with the project, emphasizing a direct approach to tackling caste identity. Initially approached as a director-for-hire, Iqbal collaborated with writer Rahul Badwelkar to reshape the script, ensuring it reflected her voice. “When I saw the original Tamil film, I was moved by its message, but I couldn’t see myself in it,” she recalled. “I saw an opportunity to make it my own, and that’s why I said yes.”

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Authenticity anchors every frame of Dhadak 2. From filming in an actual Bhopal slum to ensuring costumes—like a Rs 100 shirt for Chaturvedi’s character—reflected the protagonist’s socio-economic reality, Iqbal prioritized realism. “Nothing was built on a set,” she noted, underscoring her commitment to grounded storytelling. The overwhelming love and recognition for the film have been both humbling and motivating for Iqbal, who describes herself as a private person. As she looks to future projects, she remains driven to explore themes that challenge societal divides, cementing her place as a filmmaker unafraid to confront tough issues through the lens of mainstream cinema.

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