Guneet Monga Kapoor on Storytelling, Taking Risks and Finding Luxury in Freedom

Academy Award-winning producer Guneet Monga Kapoor worked as a production coordinator for international productions before going on to set up her own production house, Sikhya Entertainment, in 2008. She executive produced the 2018 documentary short Period. End of Sentence directed by Iranian-American filmmaker Rayka Zehtabchi that went on to win an Oscar the following year. In 2023, Kapoor and director Kartiki Gonsalves won the Oscar for Best Documentary Short Film for The Elephant Whisperers. Kapoor’s filmography includes acclaimed films The Lunchbox, Gangs of Wasseypur (Parts One and Two), Masaan, and Pagglait. The trailblazer, who has been rewriting the rules for women in film, shares what draws her to a story, the risk that changed the course of her career, and the career path that she might have felt compelled to follow were it not for film.

Robb Report India (RR): What’s the first thing you do when you wake up?

Guneet Monga Kapoor (GMK): Check my Instagram; I won’t even pretend otherwise.

RR: The most recent film that stayed with you long after you watched it?

GMK: Dhurandhar! What made it truly amazing was how every department came together. Aside from the director and actors, Saini S. Johray’s production design was brilliant; Smriti Chauhan’s costumes added so much depth, and Oh Se-yeong’s action work was outstanding. Shivkumar V. Panicker’s editing kept things razor-sharp, while Preetisheel Singh’s makeup and character design were just incredible. And, of course, Mukesh Chhabra’s casting was pure genius; every detail elevated the film.

RR: What draws you to a story instinct, emotion, or the people behind it?

GMK: It usually begins with instinct; something just clicks. But what really draws me in is the emotional core of the story and the people behind it. I fully commit when there’s honesty, clarity, and a shared belief in what we’re trying to say.

RR: What do you look for in a filmmaker before agreeing to take on a project?

GMK: I look for the filmmaker’s passion and conviction in their story. If there’s genuine diligence behind the idea and they’re confident about sharing their story with the world, my faith in them as a producer instantly ignites.

RR: What kinds of stories do you find yourself returning to?

GMK: I’m drawn to stories that are unique and deeply rooted in our culture. If local audiences can love and relate to them, the world will follow.

RR: What does success mean to you after winning an Oscar?

GMK: Success, for me, means waking up every morning with hope and the determination to keep going. While awards are deeply humbling, what truly matters is the ability to keep telling stories, to keep learning, and to keep moving forward with purpose.

RR: How much do you trust your gut when backing a film that others might hesitate about?

GMK: I love a challenge. I trust my gut a lot, but I don’t rely on it blindly. It’s a balance; instinct gives me the first spark, and then I look for clarity, craft, and conviction in the filmmaker. When all that aligns, I’m ready to leap.

RR: What’s the one big risk you took that changed the course of your career?

GMK: Early on, I took a big risk by backing unconventional, independent stories that didn’t fit the mainstream mould. Films such as Peddlers and The Lunchbox weren’t obvious bets, but I believed in them. That choice to trust unique storytelling over safe formulas has shaped the course of my career.

RR: What does one get out of producing that one might not from direction and writing?

GMK: Producing gives me the chance to be part of many stories and voices, and not just one. It allows me to build, support, and shape a vision from the ground up, while collaborating with incredible talent across departments. There’s a unique satisfaction in bringing the right people together and watching a story come to life beyond what any one role could achieve.

RR: What do audiences underestimate the most about filmmaking?

GMK: I think audiences often underestimate the role of the producer. It may not look glamorous, but it’s about maintaining a vision, navigating logistics, finances, and the countless moving parts to turn a dream into a film. That invisible work is what makes everything else possible.

RR: What does luxury mean to you in life and not just in cinema?

GMK: Luxury, for me, means time, freedom, and the ability to choose the stories that I truly believe in. Of course, I love beauty, detail, and the finer things, but real luxury is waking up with purpose, being surrounded by people who inspire me, and having the space to dream big.

RR: What’s the one thing that Indian storytelling is lacking now?

GMK: I think we sometimes hold back on taking bold, uncomfortable risks. There’s so much originality and depth in our culture, but we don’t always push it as far as we can. The more fearless and authentic we are in telling our stories, the more they’ll resonate elsewhere.

RR: Do you have a creative anchor, especially in times of doubt?

GMK: I don’t have just one creative anchor; I have many. I grew up without siblings and lost my parents very early, so, over time, I built my own chosen family. My friends, my business partner Achin Jain, my spiritual gurus and, now, my husband Sunny [Kapoor], who has my back no matter what. They each ground me and give me strength when I feel uncertain. And, of course, my creative team at Sikhya constantly inspires me and keeps me rooted in the work.

RR: What would you be doing if you weren’t producing films?

GMK: I’d have been an insurance agent since my dad wanted me to be one. I even took a course in the subject. But life had other plans.