EXCLUSIVE| 'Gehraiyaan' director Shakun Batra on use of Artificial Intelligence in cinema: 'It can be a leveller but there are real concerns too'

Filmmaker Shakun Batra, who has directed Ek Main Aur Ekk Tu, Kapoor & Sons, and Gehraiyaan, is the first Indian filmmaker to collaborate with Google on an experimental Al- driven storytelling campaign. With this latest campaign, Shakun’s Jouska Films explores how Al can reshape storytelling & streamline production.

And in an exclusive interview with Firstpost, Batra spoke about all of it and also his own films he has directed so far.

Edited excerpts from the interview

What do you have to say about your collaboration with Google for the AI-driven storytelling?

It’s been a really exciting space to explore. The collaboration was born out of curiosity—just a genuine interest in what could happen if storytelling and these emerging AI tools met somewhere in the middle. We weren’t aiming for perfection; we were testing, playing, pushing boundaries to see what new kind of cinematic language could emerge. Google came in with the same spirit—open to experimentation, which made it feel less like a partnership and more like a creative lab. We’re still learning, and that’s the most interesting part of it.

Do you see AI as a potential threat or a boon in the filmmaking process in India?

It’s a bit of both—and I think it’s important to be honest about that. On one hand, AI can absolutely be a leveller. In India, we have no shortage of stories, but we do often face limitations—budget, access to equipment, time. AI can help reduce those barriers. A student in a small town could potentially create something visually compelling with tools they can afford, without needing a massive crew or infrastructure. That’s a huge shift in who gets to tell stories and how.

But at the same time, there are real concerns. If we start treating AI as a shortcut that bypasses craft, or if it leads to generic storytelling, we risk losing the richness that comes from effort, collaboration, and time. There’s also the question of how AI models are trained—whose work is being used, and whether artists are being credited and compensated. These are ongoing conversations. I don’t think we should be blindly optimistic or overly fearful. We need engaged, intentional use—and open dialogue as we move forward.

How did this collaboration come about?

It started from a place of genuine curiosity. I had been experimenting with some of Google’s early AI tools on my own—playing with visual prompts and narrative textures, to see what cinematic language could emerge. That led to conversations with their team, where I shared my interest in pushing storytelling through these tools—not as a gimmick, but as a new kind of craft.

The idea grew organically. There was no big pitch—just shared curiosity about whether we could create something cinematic through AI. That’s how the car chase came to life. From that, we decided to develop a special project called Imagine—a series exploring five different ideas using AI to push cinematic storytelling in fresh, emotional, structural ways. It’s work-in-progress, but that’s precisely the point—to explore, to test, to learn.

We recently saw a Hindi film (Raanjhanaa) whose climax was altered with AI. Does this scare or bother you as a filmmaker?

It does raise concerns—not because AI was involved, but because the filmmaker’s consent wasn’t part of the decision. That’s the bigger issue. Tools and techniques may change, but creative intent must always remain central. That kind of alteration without the director’s voice in the room risks eroding what the art stands for. We need open dialogue and creative integrity—not silent overrides.

What do you feel are the advantages of AI?

Speed and access. You can now visually explore an idea in hours instead of weeks—something that can fundamentally change the storytelling pipeline, especially for filmmakers without big budgets. It also helps bridge collaborative gaps—writers, editors, designers, directors can work in tighter, more visual loops. Used thoughtfully, AI can make creation faster and more thoughtful.

The plumber scene in Kapoor and Sons is often viral on social media. What are your memories of shooting it?

I’m still pleasantly surprised every time it pops up on my phone. It wasn’t something I expected would become such a shareable moment—but it always brings a smile. The whole film was special because of the people and place—Coonoor was magical, and the atmosphere stayed with me. It’s probably my most cherished memory from any shoot.

The final scene of Gehraiyaan, where the old lady recognizes Deepika, is one of the best cliff-hangers of recent times. Why do you end the film right there, and what do you feel happens next?

We ended it there because that moment felt complete. It wasn’t about delivering closure—it was about letting everything land in the silence. What happens next? I leave that for the viewer to decide. That’s where the emotional weight sits—it becomes theirs, not mine.

What are your upcoming projects? When can we see you direct next?

Lust stories for Netflix is up next and I’m developing a few projects—some traditional, some experimental. I’m writing again, which feels refreshing. Hopefully very soon.