Renuka Shahane has long captivated audiences with her graceful performances and emotional depth. Now, the acclaimed actress, known for her work in television and films, has ventured into a new artistic realm: animation. Her latest short film, Loop Line, is a poignant, surreal, and visually inventive exploration of domestic drudgery and emotional entrapment, marking a significant evolution in her storytelling journey.
Created in collaboration with Paperboat Design Studios, Loop Line has garnered international recognition, screening at major festivals like the Thessaloniki International Film Festival and Monstra Festival. It recently earned accolades at the Tasveer South Asian Film Festival and the Mumbai Short and Documentary Film Festival, and was also showcased at the New York Indian Film Festival 2025. Told through 2D digital animation, the film offers a glimpse into a day in the life of a Mumbai housewife, trapped in a relentless cycle of invisibility and emotional neglect, with fantasy sequences providing brief escapes into her inner world.
In an in-depth interview with AnimationXpress.com’s Binita Das, Shahane discusses her attraction to animation, the nuances of portraying silent suffering through surreal imagery, and her collaborative process. She also shares her insights on the future of adult animation in India, the power of culturally rooted stories, and the new directions her creative journey is set to explore.
You began your career as a beloved actress and later transitioned into directing with your film Rita (2009). What drew you to filmmaking, and why did you choose animation as a medium for Loop Line?
My journey into filmmaking began while I was doing my MA in Clinical Psychology. I was offered a significant role in the tele-series LifeLine for Doordarshan in 1988, directed by Dr. Vijaya Mehta. I also assisted her, specifically with costumes, and learned an immense amount about filmmaking from her. It was then I realised I wanted to become a filmmaker.
I chose digital 2D animation, which is very close to the hand-drawn style I adore, because it felt most suitable for Loop Line. Every story dictates its own narrative form. While developing Loop Line, I constantly envisioned it as an animation. I’ve always loved animation, and since there are many films and TV series about the often thankless job of housewives, I wanted to tell my story differently. Animation was the perfect vehicle.
What inspired the story of Loop Line– particularly the surreal and haunting scene involving ‘brain fritters’? Was there a specific moment or observation that sparked this narrative?
There isn’t one particular person or situation behind Loop Line. The concept of “Dhhaavpatti” (Loop Line) came to me because I’ve witnessed so many housewives, who are the backbone of their families, constantly disrespected, their roles unacknowledged, and their sacrifices unseen. I imagined such a housewife living a life of drudgery almost automatically, relentlessly, with a dominating husband who completely disregards her feelings. Her only escape, I imagined, would be the beauty she experiences through her dreams. Not all dreams would be pleasant; some of her imagination would reflect her suppressed rage- that’s how the surreal “brain pakoda” (fritters) sequence came about.
The film’s ending leaves the audience contemplating. Does the protagonist truly escape the mundane and daily abuse, breaking the loop?
My story doesn’t offer a typical emotional catharsis or a clear resolution to my heroine’s life. I specifically wanted the audience to imagine her life continuing in a loop, just like the single day I chose to show. The continuity of her situation is poignant and indirectly comments on many similar lives led in a monotonous, loveless manner.
The film addresses the often invisible abuse endured by Indian housewives. How did you approach portraying their internal world, especially balancing realism and fantasy?
Shahane: Balancing the real and imaginary was challenging. The imaginary elements couldn’t overshadow the reality, as they needed to feel like a fleeting breath of fresh air. The reality had to be shown in its repetition for the imaginary to serve its purpose effectively. The repetitive, monotonous sequence of domestic duties is further emphasised by the repetitive sounds of a train running parallel.
Could you elaborate on the film’s previsualisation process, involving actors Mitalee Jagtap Varadkar (Gangubai Kathiawadi) and Anand Alkunte (Despatch, Farzi)? How crucial were live performances as a foundation for the animation, and how did that unfold?
For the 2D digital animation style I chose, which is reminiscent of hand-drawn animation, shooting the previsualisation with Mitalee Jagtap Varadkar and Anand Alkunte was essential, as our animation was based on it. It was critical for the previsualisation to be perfect because everything- the animated characters’ expressions, emotions, body language, and movement- depended entirely on my actors’ performances, and they were terrific to work with.
You’ve expressed a passion for hand-drawn storytelling. How did you collaborate with Paperboat Design Studios to translate your vision into an animated format that conveys raw emotions?
Working with Paperboat Animation Studios involved discussing every nuance of how a final frame would look before animating it. Everything from the colour palette to costumes, background, set layout, and character appearance was shared with me, and we reached decisions through mutual consultation. The collaboration was very fruitful due to seamless communication. They clearly articulated what was feasible and what wasn’t. It’s a very time-consuming process where I had to be extremely clear about the desired effect. There’s no room for second-guessing or trying things out, which is more accommodating in live-action shoots. It was a huge learning experience that deepened my respect for animators.
With talents like Anmol Bhave and Mangesh Dhakde on board, how did sound design and music shape the emotional tone and pacing of Loop Line?
Working with Anmol and Mangesh was incredibly fulfilling, as sound design is a crucial parallel track to the visuals. I was very clear that I wanted a continuous rhythm of local trains to almost mirror the automatic domestic duties of my protagonist. Anmol understood my ideas and transformed them into a beautiful soundtrack that adds many layers to Loop Line. Mangesh created the very effective music that represents my protagonist’s flights of escape. The melody he composed is never completed in the film, reflecting her unfulfilled dreams, and the same melody transforms from beautiful to sombre depending on the type of imaginary emotional expression my character is experiencing.
Loop Line has travelled to prestigious festivals worldwide and won awards*. What has the international audience response been like, especially given the film’s roots in Marathi culture? (*The film won accolades at the 19th Tasveer South Asian Film Festival 2024 and won the Best Story and Best Animation Film awards at the Mumbai Short and Documentary Film Festival 2025.)
It has been incredibly heartwarming and validating to see how much this story, so deeply rooted in Mumbai and Maharashtrian culture, resonates with so many diverse cultures. This has convinced me that stories told with conviction and authenticity are well-received and admired globally. Many programmers mentioned in their mails that they were very happy to see an animation film with mature content from our country, as it’s quite rare. It has inspired me to make more animation films, in addition to my live-action projects.
The mature subject matter of the film highlights that animation isn’t solely for children. What do you hope Loop Line contributes to the broader conversation around adult animation in India?
I hope we find more backers and finances willing to invest in animation films without expecting immediate commercial returns, at least initially, until animation with mature content gains popularity. But I suppose that’s a lot to ask.
Loop Line has already made its mark in the animated short film space. Do you envision continuing to explore animation in your future projects? Are there specific themes or stories you’d like to tell next in this medium?
I would absolutely love to work on more animation projects. In fact, I’m currently completing the script for another animation short. It won’t be in the same animation style as Loop Line, so I’m looking forward to trying something different this time. Inclusiveness, compassion, and healing are some of the subjects I’m exploring for my next animation shorts.
What other projects are you currently working on? Could you briefly share their themes or storylines?
I’m currently writing two live-action feature film screenplays. One is a Marathi feature film centred around inherent racism, colourism, and casteism in our society. The other is a Hindi feature film, which is a social satire involving policemen, politicians, and the underworld.
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