Rasika Dugal on Intimacy Scenes in Mirzapur: Why She Says Coordinators Make a Difference

Rasika Dugal has opened up about filming intimate scenes and explained why she believes intimacy coordinators have become an important part of modern film and OTT production. The Mirzapur actor said the process allows performers to discuss boundaries beforehand, understand exactly what will be filmed and request a closed set when required.

Rasika Dugal has spent years playing Beena Tripathi in the Mirzapur franchise, a character whose storyline has included some of the show’s most emotionally and physically demanding moments.

As the franchise moves from streaming to the big screen with Mirzapur: The Movie, Dugal has once again spoken about an aspect of filmmaking that is increasingly being discussed across the entertainment industry: how intimate scenes are planned and performed.

In an interview with ANI, Dugal explained why she considers intimacy coordinators valuable for actors working on such sequences.

Rasika Dugal compares intimacy coordinators to choreographers

According to Dugal, an intimacy coordinator serves a role comparable to other specialists who help actors and filmmakers execute technically demanding scenes.

“For intimacy scenes in particular, nowadays we have intimacy coordinators, which is a very important thing, so that nobody is kind of violated in any way and everyone’s concerns are properly taken care of,” she said.

The actor compared the role with a choreographer working on a dance sequence or a fight master overseeing an action scene.

Her point is that intimate scenes also involve choreography and preparation. Actors need to understand what the scene requires, while the director needs to communicate the intended emotional and visual outcome.

The coordinator can help facilitate that conversation before filming begins.

Actors can discuss what they are comfortable doing

Dugal said intimate sequences can be discussed and workshopped beforehand so that the actors involved have an opportunity to communicate their boundaries.

The purpose, she explained, is to determine how a director’s creative requirements can be achieved while respecting what the performers are comfortable with.

“If somebody is uncomfortable with something, we try and find another way to sort of have that same effect, but without making anybody feel uncomfortable,” Dugal said.

That can be particularly significant in scenes where the desired emotional impact does not necessarily depend on one specific physical action.

A sequence can potentially be approached through different forms of choreography, framing or camera work.

For Dugal, having those conversations before shooting makes the process more comfortable for everyone involved.

Why a closed set matters during intimate scenes

Another aspect Dugal highlighted was the use of a closed set.

Sensitive scenes can involve limiting the number of people present to those whose roles are essential for filming.

Dugal said the presence of an intimacy coordinator creates greater clarity about who needs to be on set and who does not.

“You know exactly what is going to happen on set. You know, you can ask for a closed set,” she explained.

She added that earlier, responsibility for handling such situations could fall to an individual member of the production team, without there necessarily being one clearly designated person responsible for the process.

According to Dugal, an intimacy coordinator provides a specific point of responsibility.

That structure can help establish expectations before filming starts and reduce uncertainty for performers.

How intimate scenes were handled during Mirzapur Season 1

Dugal also reflected on her experience filming the first season of Mirzapur.

She said intimacy coordinators were not yet an established concept in Indian productions at the time.

While the practice had already been used in parts of the Western entertainment industry, Dugal recalled that it had not become common in India when the first season was being made.

However, she said the Mirzapur production team was sensitive to the concerns involved.

According to the actor, the directors discussed the scenes with her beforehand, allowing her to understand what would be filmed and how the sequences would be shot.

She also said she had the opportunity to communicate if she was uncomfortable with something.

“When we were doing Mirzapur season one, we didn’t have intimacy coordinators as a concept at that time,” she said.

Dugal added that members of the production team effectively took on responsibilities associated with intimacy coordination at the time.

Preparation gave Dugal clarity

For Dugal, one of the important aspects of that experience was knowing exactly what she was expected to do.

She recalled being aware of the shots planned for the scenes and how they would be filmed.

The director had discussed the material with her in advance, giving her an opportunity to raise concerns before the cameras rolled.

That distinction is important when filming intimate material.

A performer should not be encountering the physical requirements of a scene for the first time while already on camera.

Advance conversations can establish the boundaries and expectations of everyone involved.

Intimacy coordination is about more than intimate scenes

The broader principle behind intimacy coordination is similar to the preparation used for other specialised sequences.

An action scene requires choreography because uncontrolled movement can create safety risks.

A dance sequence requires rehearsal because performers need to understand timing and positioning.

An intimate scene can require comparable preparation, while adding another layer involving personal boundaries and consent.

Dugal’s comments underline why she sees the role as an important professional function rather than an unnecessary addition to a production.

Mirzapur moves from OTT to cinemas

Dugal’s remarks come at an interesting point in the franchise’s journey.

Mirzapur: The Movie brings the popular streaming property to cinemas, with several familiar characters returning as the story expands beyond its OTT format.

Dugal remains associated with one of the franchise’s most recognisable characters, Beena Tripathi.

The character has undergone a complicated journey throughout the series, requiring Dugal to navigate scenes involving violence, family conflict, power struggles and intimate relationships.

Her experience therefore provides a useful perspective on how performers approach some of the more demanding material involved in the franchise.

Why the conversation around intimate scenes is changing

The entertainment industry’s approach to sensitive scenes has evolved significantly in recent years.

Actors, filmmakers and production professionals have increasingly discussed the importance of establishing boundaries and creating a working environment in which performers understand what is expected of them.

Intimacy coordinators can be part of that process by facilitating discussions between actors and directors and helping choreograph sensitive material.

For audiences, an intimate scene may last only a few minutes on screen.

For the actors and crew, however, producing those minutes can involve considerable preparation.

Rasika Dugal’s message is about professionalism and clarity

Dugal’s comments ultimately focus on a simple principle: actors should know what they are being asked to perform, and their concerns should have a clear place in the filmmaking process.

She believes intimacy coordinators help make that possible by giving productions a dedicated professional who can coordinate the practical and personal aspects of sensitive scenes.

Looking back at Mirzapur Season 1, she said she was fortunate to work with a production team that took those concerns seriously even though formal intimacy coordination was not yet common in India.

Now, she argues, having a designated intimacy coordinator can make the process even more structured.

As Mirzapur enters its next chapter on the big screen, Dugal’s comments offer a glimpse into an often unseen part of filmmaking—and why preparation, communication and clearly established boundaries matter long before an intimate scene reaches the audience.