Sandiip Kapur is an Indian film and theatre producer known for producing socially relevant and critically acclaimed films. Over the years, he has collaborated with some of the industry’s finest actors, directors, and writers, with a strong focus on meaningful storytelling and independent cinema. His acclaimed film Bhonsle, starring Manoj Bajpayee, earned widespread national and international recognition, including the National Film Award for Best Actor. Kapur has also contributed significantly to theater through collaborations with filmmaker Mahesh Bhatt.
In this exclusive interview, Sandiip Kapur talks about his upcoming comedy Uttar Da Puttar, set to release on July 24, 2026. Inspired by Vastu Shastra and real-life experiences, he also shares his insights on filmmaking, independent cinema, and the evolving entertainment industry.
Your upcoming film Uttar Da Puttar is a comedy based on Vastu Shastra. What inspired you to choose this unique subject?
Around 70% of the story is inspired by my own experiences while building a house in Delhi. I realized that almost every family has someone who believes deeply in Vastu, luck, karma, or superstition. The film follows a man obsessed with owning a north-facing house, creating humorous yet relatable situations. I wanted to explore a subject that Bollywood has never attempted before while keeping it entertaining.
The film features actors like Annu Kapoor, Pavan Malhotra, and Brijendra Kala. What went into building such a strong cast?
Casting is extremely important to me. Having worked in advertising for over 25 years and produced more than 200 commercials, I understand the importance of matching the right actor with the right character. Annu Kapoor was the ideal choice for the central role, while Pavan Malhotra’s versatility made him an obvious addition to the cast. Every actor, including Brijendra Kala, Sumit Gulati, and Jeeveshu Ahluwalia, was carefully chosen because they were best suited to their respective characters.
Your earlier films, including Bhonsle, were serious dramas. Why did you choose comedy this time?
My first film, Jugaad, was also a comedy, so the genre isn’t new to me. What attracts me is an unexplored subject, not a particular genre. Bhonsle was critically successful but financially challenging. That experience taught me the importance of balancing meaningful storytelling with commercial appeal. Uttar Da Puttar offers exactly that: a fresh subject presented in a light-hearted manner.
Did the success of Bhonsle influence the way you now select stories?
Absolutely. Bhonsle brought tremendous appreciation but not commercial returns. I still want to make content-driven cinema, but I also want my films to reach a wider audience. Going forward, I aim to blend strong content with entertainment. I’m very optimistic about Uttar Da Puttar because audiences are responding positively to its fresh concept and humor.
How does the film handle a sensitive subject like Vastu Shastra without offending people’s beliefs?
The film isn’t about proving whether Vastu is right or wrong. Vastu is simply one aspect of the story. It’s about a man who becomes obsessed with his beliefs while his wife believes in karma and hard work. Through humor and situational comedy, we explore everyday beliefs without preaching or judging anyone.
What can audiences expect from Uttar Da Puttar?
It’s a family entertainer filled with situational comedy. There is no preaching or “gyaan.” The film simply uses humor to explore relationships, destiny, karma, and human behavior. We want audiences to come to theaters, laugh, and enjoy themselves.
What are your upcoming projects after Uttar Da Puttar?
We are developing a commercial film based on the life of India’s first celebrated transgender woman, Sylvie, set against the backdrop of the 1970s and 1980s. We are also in the final stages of developing the story for Anaarkali of Aarah Part 2, a project we have been working on for several years.
Any final message you’d like to share?
Independent filmmaking continues to be a struggle despite years of experience. Promotions, distribution, and visibility have become increasingly difficult. If independent producers disappear, many meaningful stories will never be told. I hope audiences continue to support content-driven cinema because that encouragement gives filmmakers like us the confidence to keep creating unique stories.
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