My Heart Is My Best Guide, Says Divya Dutta

On a rainy Mumbai evening, relaxing over a cup of tea, she reminisces that three decades ago, when she was all set to debut in films, she had several offers from “some very beautiful Telugu films.” But due to date clashes, she chose to make her debut in a Hindi multi-starrer — the rather forgettable Ishq Mein Jeena Ishq Mein Marna.

Not one to get caught up in the ‘what ifs,’ she says her choices have always been instinctive.

“I’ve never thought about what the norm is, or what is expected of me. I just listen to my heart. I think that’s the best guide. There is always a season when something happens in your life. Ideally, I would have loved to make a debut with a huge hero, and just be launched — you know, so-and-so launches Divya Dutta. But that wasn’t the case. I started with a multi-starrer, and thought to myself, ‘if they have to notice me, they will.’”

She adds that not every film offers author-backed roles, and it is up to the individual to create their own X-factor to be noticed and survive in the competitive ecosystem of the industry.

Carving a niche for herself as a versatile performer, Divya’s résumé includes collaborations with cinema greats. She has done Veer-Zaara with Yash Chopra, Train to Pakistan with Pamela Rooks, Welcome to Sajjanpur with Shyam Benegal, and The Last Lear with Rituparno Ghosh. Divya, who abhors the term ‘supporting actor,’ says it never mattered to her whether the roles were lead or parallel. “These directors gave me beautiful characters that stood out.”

Defying stereotypes and being what she calls “a rebel with a cause,” she describes her situation with the analogy of ice cream: “I knew the entire serving was never mine. I had to savour whatever came my way, even if it was just a bite, and enjoy the process. Audiences are very perceptive; they see through you. However big a star or actor you might be, the audience will give you a reality check if they sense you are uninterested or arrogant. They can see your ingenuity and hunger to prove yourself and encourage that. For me, it’s very rewarding to just hear: We go to watch a film when we know you’re in it.”

Having won accolades for her performance as the powerful yet complex Iravati Basu in Mayasabha, Divya credits director Deva Katta’s vision and the strong writing for the achievement. “I was floored by the narration. I didn’t even read the entire script; I just knew I would have a blast on set. Some phases in life — and this one has lasted pretty long for me — are about simply having a blast at work. It was such a creatively fulfilling experience that I didn’t even need to check the monitor after my takes. Katta’s expressions were enough feedback; and above all, it was excellent writing.”

Writing, she stresses, is key. And laments that creators and actors have lost the art of storytelling. The once-celebrated cross-pollination between industries, which seemed so creatively encouraging, too has crumbled under formulaic scripts, treatments, and the weight of star power, the actor feels.

“The thing with our industry is, there are phases of every kind. People have a herd mentality, they don’t ask why films aren’t working. We need good writing. We have very good writers who don’t get a chance. Often, those calling the shots want certain things, but then say there are no writers. Or they hire a good writer but change the entire direction as per their own perceptions and formulaic thinking. What you get in the end is a mishmash. You have to let people work as per their convictions. A good marriage is possible between industries, but we need to strengthen it with writing, treatment, and stories.”

She also highlights the disconnect between film teams and audiences. Bollywood’s 2025 report card has been less than remarkable, with the sole exceptions of Vicky Kaushal’s Chhava and Ahaan Panday’s Saiyaara. “Many films don’t reflect what the audience wants. Studios come in with their own ideology, not necessarily what the audience wants, but what is perceived through data and algorithms. We work on the concept of the flavour of the season, be it actor, genre, or formula.”

So, considering all this, is there something she wishes she could change? Divya emphasises that it is high time we stop judging scripts and films on the basis of gender. “Many times, you will hear a producer say, ‘But it’s a female-oriented story.’ Those labels still operate in the industry. What defines a film is whether it is good or bad, commercial or non-commercial.”

She urges big studios to back small films like Laapataa Ladies and 12th Fail, noting that good presentation ensures longevity.

Meanwhile, it’s work as usual for the actor. She will next be seen with Manoj Bajpayee in Rana Daggubati’s Indo-American production, while her film with Neeraj Kabir, Echoes of Valpur, based on the life and times of army wife and mother Shukha Bandopadhyay, will be screened at the Venice Film Festival, which opens this weekend.