A Suitable Director:  My Conversation With Indian American Oscar Nominee Smriti Mundhra

You may not know her by name, but the majority of our desi community (and beyond) know the work of Smriti Mundhra. Need a hint? Think: Seema Aunty. That’s right — Smriti Mundhra is the brainchild behind the Netflix hit series “Indian Matchmaking,” which has created spin-offs of “Jewish Matchmaking,” and an imminently releasing “Muslim Matchmaking.” She was also the creator and director of “The Romantics,” a series documenting the story of Yash Raj Films, and their dynasty in Bollywood. Similar series have since emerged in the OTT platforms, documenting the lives of prominent stars of Bollywood history (e.g. “The Roshans,” and “Angry Young Men”).

But what many folks don’t know is what an incredibly prolific filmmaker she is — creating works of such a variety of subjects. Documentaries are where her heart lies, which comes to no surprise when you learn that she was a reporter, editor, blogger, you-name-it-she-did-it with Black Entertainment Television (BET) for eight years. She knew from early childhood that she wanted to be a filmmaker, and had the full support from her parents, one of whom was a critically acclaimed filmmaker himself, Jagmohan Mundhra. 

And so while the rest of us Xenniels and Millenials grappled between the choices of pursuing the path of engineering/medicine/business/law, Mundhra studied English in undergrad, and got her Master’s degree from Columbia in Writing & Producing. She produced her first feature film straight out of undergrad, “Bomb The System,” a film about graffiti artists that wage an all-out war against NYPD. The film was nominated for best feature in the Tribeca Film Festival and the Independent Spirit Awards. Not bad for a 22-year-old first-timer. 

Her directorial debut film, “A Suitable Girl,” after making its festival rounds throughout the world, was nabbed by Amazon Prime, and also became the catalyst for her most popular work. It was during “A Suitable Girl” that Mundhra met the now-ubiquitously known Seema Aunty. “A Suitable Girl” follows three young women navigating the arranged marriage process over a 4 year period, examining the women’s complex relationship with marriage, family, and society. One of the girls looking for a groom is none other than Seema aunty’s daughter. Upon meeting Seema aunty, Mundhra saw a star, and thought to herself, “There could be a whole series just about her.” For those of you who haven’t seen it, I highly recommend watching “A Suitable Girl.” Seeing the same subject as “Indian Matchmaking” being tackled in such a sensitive, poignant, yet humorous way is fascinating, and reveals so much about what a difference a director can make. In this case, it’s the same director, which makes it even more astounding. 

Flash forward to 2020, where Mundhra received her first nomination as best director for her documentary short “St. Louis Superman,” a film about Bruce Franks Jr., a Ferguson activist and battle rapper who was elected to the overwhelmingly white and Republican Missouri House of Representatives. On a slightly tangential note, my challenge with documentary shorts is I don’t know where to watch them. Festivals screen short docs, but they don’t necessarily make it to my hometown. Because I am friends with the filmmaker, I have been able to watch internal screeners, otherwise it’s been a challenge. But this is changing — Mundhra’s latest Oscar nominated film “I Am Ready, Warden,” is available for streaming on Paramount+. 

“I Am Ready, Warden,” follows Texas death row inmate John Henry Ramirez in his final few days before execution, as he prepares a message for his victim’s son, Aaron, now, twenty years after the brutal murder.

I will admit that I put off watching this film for some time, as the emotionally charged nature of the topic made me weary to put myself through a heavy and tear-jerking journey. But the film is 40 minutes in length, and I reasoned with myself that I would watch an episode of mindless entertainment afterwards to clean my palate. It turns out, I didn’t need to do so. The film wasn’t depressing, and left me contemplative rather than burdened. 

I sat down to talk to Smriti about the film, and her journey now as a two-time Oscar nominee. 

Bhardwaj: Congratulations! How does it feel, second-time around? 

Mundhra: It feels amazing, but also feels crazy. The dates have aligned with the release of “Muslim Matchmaking,” so it’s a lot of traveling back and forth across the country. The first time around, the whole Oscar experience was like bright lights in my face — I had no idea what to expect. It all felt exciting and surreal. Knowing what to expect makes it more intimidating in a way, but I’m trying to reverse that, and just relax into it and enjoy it, bc it really is a special time. 

B: How did you come upon this particular story of John Henry Ramirez? 

M: John approached a journalist named Keri, to be the witness to his execution. In Texas, for every execution you have to have a witness. She met with him, interviewed him, and they developed a friendship over the year. I read Keri’s work, and was really moved by it. She finds a lot of humanity of those on death row, and so I approached her when I wanted to make a film about this subject, and she suggested I meet John. 

B: What made you decide you wanted to do a film about death row? 

M: I wasn’t specifically wanting to make a film about death row. It was a general curiosity about the policies and systems that are designed to purportedly protect people like you or me, but are failing, or victimizing others in the process. Keri’s writing sparked the idea for me to make a film about someone on death row, but not a wrongful conviction case. I wanted to ask questions about our own capacity, as a society, to forgive. 

B: This is a topic that has surely been done before. What makes this film’s approach unique to a story about a prisoner on death row?

M: What people have said to me is that the film actually forces people to look at the issue differently. Not as voyeurs, but as participants. It asks the audience — do we believe in forgiveness? Do we believe in redemption? It’s not a film where the audience is watching a mystery unfold of whether or not someone committed the crime. 

The other aspect is the balance between John’s perspective, and Aaron’s perspective (son of John’s victim). You don’t often see such a deep dive into this complexity and psyche of a victim. And we’re watching Aaron in real-time, grappling with all this as it is unfolding. 

B: The brevity of the film surprised me. It ended before I expected, and I felt left with all these emotions and thoughts that I had to process on my own. 

M: That was very much a conscientious choice. That’s why I love the short form. It’s meant to leave you with questions, to examine your own moral line on this issue. Had the film been longer, or if it resolved all the issues, you would have just moved on with your life. But I wanted to leave you with the big emotions, and for you work through your thoughts on what you value more — justice or forgiveness? 

B: I am really amazed by the variety and scope of your work. Most filmmakers tend to have a particular genre, and stay within there. What draws you to such a variety of subjects? 

M: I think it is curiosity. We exist as complex, multi-faceted human beings in this world, not as genres. Sometimes we have deep emotional experiences, sometimes we’re joyous, and celebrating life. So for me, I am exploring the full range of emotions and experiences in my life, and like to have my work reflect that spectrum as well. 

B: How do you navigate through the very tough and real emotions that you feel when you are around such heavy subjects like that in “I Am Ready, Warden.” 

M: It’s very hard. (Sighs, and pauses). For me, I have to go micro. I am so lucky to live the life that I do. I get to come home to my kids, who are climbing all over me with joy. My mom is there to make me a cup of chai. I get to veg-out and binge watch TV with my husband on the couch. I just have to focus on all the things that I am so, so lucky to have.   

I will be rooting for Smriti Mundhra from my living room, watching the Oscars this Sunday, March 2nd at 4pm on ABC. “I am Ready, Warden,” is available for streaming on Paramount+.

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Antara Bhardwaj is a Kathak artist and filmmaker based in Mountain View, California, where she lives with her husband and son. She runs a dance company and school by the name of Antara Asthaayi Dance. You can follow her on Facebook and Instagram. She is an avid Halloween fan, and boasts of a home that goes all out in decorations and even hands out full sized chocolate bars to trick-or-treaters!