’There’s More Agency for Female Characters in Cinema Now’

Shahana Goswami returns to the screen as a newly-wed bride navigating the complexities of identity and relationships in the Indo-Australian romantic drama Four Years Later. While the series explores the emotional terrain of love and self-discovery, Shahana’s own journey over the last four years — and indeed, the last two decades — has been one of fearless evolution and artistic fulfillment.

Fresh off the critical acclaim for her role in Santosh, a hard-hitting police procedural that was also the UK’s official entry to the Oscars 2024, Sahana reflects on the challenges of carving space as an actor who doesn’t conform to the industry’s mainstream mold.

“There is a tendency for people to only view through their imagination, which is limited to what they already see,” she says. “It’s a paradox — an oxymoron even — because imagination should allow you to see beyond what is in front of you. But very few people in this industry take that kind of risk or have the vision to allow writers, actors, directors or creative minds to break out of the mold they’ve been assigned. And people often forget — acting is a hired job. You only get to choose if you’re lucky. Otherwise, you do what comes your way.”

Four Years Later offers a shift from the gritty, grounded narratives often associated with Indian storytelling. Yet, for Shahana, who has consistently taken the unconventional route — from Rock On to Midnight’s Children, A Suitable Boy, and Bombay Begums — change is familiar terrain. She’s known for bringing depth and nuance to strong, layered female characters, and believes the global narrative landscape is undergoing a much-needed transformation.

“There’s noticeably more agency in female characters now — simply because it was so lacking across the world,” she observes. “It’s not just about telling women-centric stories, but about equal representation in storytelling. That’s critical. What’s exciting, though, is that storytelling has improved across the board — even for male characters. We’re moving away from the testosterone-driven ‘protector’ hero, which never allowed space for vulnerability or emotional fragility. Men, too, are victims of patriarchy — it’s a systemic issue — and now that’s finally being explored in nuanced ways.”

As someone who has straddled both mainstream and independent spaces, Shahana says the last few years have been a dynamic period in global entertainment.

“It’s been an exciting time, especially in the last four to five years. There’s been a shift — not just in representation, but in the depth and honesty of the stories being told. And that, I feel, is truly liberating — both as an actor and a viewer.”