Kanika Dhillon says her Netflix thriller Gandhari was conceived as a contemporary reimagining of the Mahabharata character, giving her a new identity and the agency to fight her own battle.
Writer-producer Kanika Dhillon has revealed the thinking behind Gandhari, her latest collaboration with actor Taapsee Pannu. Directed by Devashish Makhija, the thriller takes inspiration from the legendary Mahabharata figure but places the idea in a contemporary fictional world.
Rather than reproducing the traditional portrayal of Gandhari, Dhillon wanted to imagine what the character might have been like if she had been given greater agency over her own choices.
The result is Gandhari, a story centred on Bani, played by Taapsee Pannu, a mother whose daughter is abducted. Her search for the child takes her into an increasingly dangerous world, turning a personal crisis into a fight for survival.
Kanika Dhillon Wanted to Reinvent Gandhari
Dhillon explained that she did not want to simply reproduce the Gandhari audiences know from the Mahabharata.
“I didn’t want to retain the core of Gandhari that we have been shown in the Mahabharata,” she said, explaining that she wanted to reinvent the character within her own contemporary setting and create what she described as her “own Kurukshetra.”
In the traditional epic, Gandhari is widely remembered for blindfolding herself after marrying the blind king Dhritarashtra and for her devotion to her husband. Dhillon said she wanted to question that familiar interpretation rather than place the character within the same framework.
For the writer, the more interesting question was what Gandhari might have done if she had been given the opportunity to act differently.
‘Gandhari Should Get the Chance’
Dhillon said she wanted to give the character a greater sense of agency.
She reflected on the idea that Gandhari could have done more but did not have the opportunity to do so. In Gandhari, Dhillon wanted to create a version of the character who takes control of her circumstances and actively fights for what matters to her.
That idea becomes central to Bani’s journey in the film.
Instead of remaining a passive figure within someone else’s story, Bani becomes the force driving the narrative. Her search for her daughter pushes her into situations where she must make difficult choices and confront danger directly.
Motherhood Became the Emotional Starting Point
Although mythology provided the eventual inspiration for the title character, Dhillon said the story initially grew from a much more personal emotion: motherhood.
The writer-producer, who is a mother herself, said becoming a parent made her more conscious of the fear and vulnerability surrounding a child’s safety.
That emotional experience became the foundation for the story. Dhillon imagined the extraordinary strength a mother could find when her child is in danger and used that instinct as the emotional engine for Gandhari.
She described motherhood as a force capable of pushing a woman beyond the boundaries she might otherwise consider possible.
Only later did the idea of connecting that emotion to Gandhari from the Mahabharata develop into the film’s central concept.
Taapsee Pannu’s Character Draws From Dhillon’s Experience
Bani’s visual impairment is another important aspect of the character.
Dhillon revealed that part of the inspiration came from her college years, when she volunteered to help visually impaired people. The experience changed the way she viewed disability and made her think about how a limitation can also become a source of strength.
That perspective informed the creation of Bani.
Rather than defining the protagonist only through her blindness, Gandhari places her determination, instincts and emotional strength at the centre of the story.
Taapsee Pannu therefore takes on a character who must navigate a dangerous situation while dealing with a profound personal vulnerability.
Why Kanika Dhillon Chose the Action Genre
Gandhari also represents a new creative direction for Dhillon, who has explored several genres through her writing.
The writer-producer has said that she has long been interested in action cinema but wanted to wait until she found a story that justified the genre.
Her approach to action is rooted in visual storytelling. Dhillon has spoken about watching a wide range of action films, including the John Wick franchise, while also recognising that action writing requires a distinct understanding of movement, staging and visual sequences.
For Gandhari, she felt the story finally provided the right foundation to enter that space.
The film combines action with thriller elements and an emotional family story, creating the kind of genre blend that has become part of Dhillon’s storytelling approach.
Another Taapsee Pannu-Kanika Dhillon Collaboration
Gandhari continues the creative partnership between Dhillon and Taapsee Pannu.
The two have previously collaborated on projects including Rashmi Rocket, Haseen Dillruba and Phir Aayi Hasseen Dillruba. Their association has often revolved around female protagonists facing unconventional circumstances.
With Gandhari, that collaboration moves into a more action-oriented setting.
This time, Taapsee plays a mother whose search for her abducted daughter becomes the centre of a much larger conflict.
Devashish Makhija Directs Gandhari
Devashish Makhija has directed Gandhari. The filmmaker is known for films including Ajji, Bhonsle and Joram, bringing a grounded and intense filmmaking sensibility to the project.
The film is set in the fictional town of Joypurra, where Bani’s search for her daughter gradually exposes a more dangerous reality.
The supporting cast includes Ishwak Singh, Chhaya Kadam, Swastika Mukherjee, Mita Vashisht and Jatin Sarna.
Gandhari Now Streaming on Netflix
Produced by Kanika Dhillon’s Kathha Pictures, Gandhari premiered on Netflix on September 3.
At its core, the film uses the familiar name of a mythological character to explore contemporary questions about motherhood, agency, vulnerability and personal strength.
For Dhillon, the central idea was not simply to revisit Gandhari but to imagine a woman who gets the opportunity to take control of her own story.
And in Bani, that idea takes the form of a mother who refuses to stop searching for her child, regardless of how dangerous the road ahead becomes.
