With a career spanning Marathi, Hindi, Tamil and international cinema, Sonali Kulkarni has remained deeply connected to her roots. She reflects on Marathi cinema’s evolution, her changing approach to acting, the importance of meaningful storytelling, and the roles that continue to challenge and inspire her.
By Andrea CostaBir
You have been a prominent name in Marathi cinema for decades. How would you describe your journey within the Marathi film industry and its evolution over the years?
Yes, I have been associated with Marathi cinema right from the beginning of my career. I started with Hindi, then worked in Tamil, and then came to Marathi. So, in a way, I didn’t begin with Marathi, but I feel very proud that I never distanced myself from regional cinema. Marathi is my mother tongue, and I never had any qualms about working in Marathi or taking a break from it.
My journey has been quite harmonious across a variety of languages. I have done more Hindi films than Marathi films, but all the films I have done have been significant. I got to work with some fantastic writers and directors. All my films have made a mark, and I am happy that the journey which began in the late ‘90s is still continuing. I am able to explore different genres, new cinema and humour.
In 2026, I will be doing a mysteryaction film. I am happy that I can continue experimenting in my mother tongue while also doing justice to global languages like English and Italian, and regional languages like Tamil, Telugu and Gujarati. Marathi cinema has never stopped evolving.
Marathi cinema has seen significant growth in storytelling and reach. From your perspective, what changes stand out the most?
We have generations of powerful storytellers. They didn’t simply come up with the idea that there was money to be made and decided to start a project. They genuinely wanted to tell stories.
Right from V Shantaram and Dr Jabbar Patel to Sachin Kundalkar, Umesh Kulkarni, Nagraj Manjule, Ashish Bende and, of course, Paresh Mokashi — these directors are passionate about telling their stories.
I’m trying to point out the difference between cinema and a project. Sometimes filmmakers are tempted to put together a project around a name, but that’s different from making cinema.
In Marathi, we have a strong tradition of cinema and theatre. The sincerity and dedication of Marathi filmmakers have always been outstanding. When we watch films like ‘Court’ or ‘The Disciple’, we understand the conviction of the director. ‘The Disciple’ could probably have been made in Hindi, but the filmmaker didn’t worry about the future or plan around commercial considerations. He simply believed in the film he wanted to make.
In that sense, Marathi cinema has always produced out-of-the-box films that not only entertain, but also show us a new way of looking at life.
Having worked across Marathi, Hindi and international projects, what keeps drawing you back to Marathi cinema?
I have always felt organically proud of my roots. I’m not over-proud of being Maharashtrian; in fact, I feel rich because I belong to India. India has a vast tradition of regional languages, cultures and folktales, and that makes us unique.
I studied in a Marathi-medium school, and my family speaks Marathi. So, working in Marathi was never a taboo for me. I always felt that I ought to work in Marathi.
Though I started with Hindi, travelled to international film festivals and worked in Tamil — where I received the Film Fans Association Award — when Dr Jabbar Patel offered me ‘Mukta’, I felt I had to do that film because it was my language. I felt honoured to work in Marathi. As your question says, I kept coming back to Marathi because I never had a complex about speaking my mother tongue.
Many actors have looked at Hindi cinema as a stepping stone, believing that once they work in Hindi they shouldn’t come back. For me, returning to Marathi was never a step down. It was as natural as working in Gujarati or Tamil.
Somewhere, I felt responsible. If I make the effort to learn other languages, understand their accents, cultures and looks, why should I feel embarrassed about being Maharashtrian? I was always clear about that. That’s why I could work in Marathi theatre and films with so much confidence and joy. You’ve been part of films like ‘Dil Chahta Hai’ and ‘Mission Kashmir’. Please give us an insight into your experiences in Hindi cinema…
Hindi commercial cinema gave me wonderful opportunities. ‘Mission Kashmir’, ‘Pyaar Tune Kya Kiya…’, ‘Dil Chahta Hai’, ‘Agni Varsha’ and ‘Taxi No. 9211’ gave me immense recognition. It feels wonderful that Hindi cinema has acknowledged both my acting skills and my screen presence.
I am looking forward to Madhur Bhandarkar’s ‘The Wives’. Even when I’m not working in Hindi, I am always doing something — whether it’s web series, films in other languages, international projects or short films.
Hindi cinema has given me recognition, glamour and, of course, awards. I am grateful to all the writers and directors who continue to think of me whenever there is a substantial role. They have always offered me meaningful parts. I’m touched that, even after all these years, I still matter to Hindi cinema.
Over the years, you’ve portrayed a wide range of characters. What continues to excite you about acting today?
I think I’m on a path of discovery. Today, I thrive on not acting. Early in my career, I enjoyed performing for the camera and the audience. I loved intensity. I liked the way I cried, the way I looked, my hair, and the satisfaction of remembering all my lines. I still appreciate those things, but today I also value ease in performance. That ease doesn’t come if you’re constantly trying to project your craft. If you look at my work after 2020, you’ll notice that I’m trying to be more fluid and natural.
When you understand the magic of your presence on camera, you realise it’s not about showing your frontal close-up. It could be your third or fourth profile. When you’re in tune with your directors, you understand exactly what they are trying to communicate. Sometimes it’s simply your body language — standing up from a chair or walking away. It’s not even about your close-up. You stop worrying about whether your eyes are visible or whether every expression is captured. You understand that your entire being is part of the performance.
I’m currently working on a Telugu film called ‘The Paradise’, and I’m learning so much from my director, Srikanth Odela. He is very demanding and expects great precision in performance. Sometimes it’s the directors who drive me, and sometimes it’s the writers who create such powerful scenes that they inspire me to deliver them with conviction.
On a personal note, how has your family influenced your choices — both as an actor and as an individual?
My family hasn’t influenced my choices as much as they have supported and encouraged me. I worked on three films while I was pregnant — ‘Singham’, ‘Deool’ and the Gujarati film ‘The Good Road’. I doubt many actors have worked during their third trimester. I even remember dubbing for ‘Deool’ just before Kaveri was born. I feel proud that I remained fit and healthy during such a wonderful phase of my life.
My husband and my entire family are very fond of me, and naturally, that means they are concerned about my health and well-being. Nachiket has been extremely supportive. Sometimes he tells me not to worry because I am fortunate that work keeps coming my way and that I should respect those opportunities. My parents sometimes feel I travel too much, and sometimes I feel I should travel less for my daughter. Ultimately, it is work that keeps me going. I’m grateful to have a partner who understands my passion.
How do you balance the demands of a long-standing acting career with your personal and family life?
It’s true that balancing both is important, but who isn’t trying to do that? My career is demanding, but it also has its advantages. I don’t have to work every Monday to Saturday. There are days when I don’t work at all. Sometimes I request to be home for my daughter’s birthday, and the unit understands. If you’re truthful with your team, they take care of you. I consider myself fortunate that I’m able to keep trying to strike that balance. I don’t think I’ve arrived anywhere. I’m still trying to stay fit and be a good family member.
Having said that, I won’t deny that I am a happy person. I am hopeful, assertive, energetic, enthusiastic and grateful. I truly believe the universe takes care of you when you live with sincerity and truthfulness. That reflects in both the work I do and the opportunities I receive.
Are there any dreams or aspirations — creative or personal — that you still hope to pursue in the coming years?
Of course. As media continues to expand, there are so many new opportunities through web series, short films and podcasts.
I want to work in the space of children and parenting. I feel it’s an area that deserves more attention. We often talk about wealthy families dealing with emotional challenges, but we don’t speak enough about middleclass families and the emotional journeys of parents and children. I’d like to explore that space. I also want to write more and eventually direct.
Personally, I am enjoying being a parent. My daughter is 14 now, and it is beautiful to watch her grow. I want to spend more time with my husband, Nachiket. I genuinely admire him as a professional in our industry. I respect his values and the way he looks at art and artistes. There is so much humility in him that I continue to learn from.
Looking ahead, what kind of stories or roles would you like to be part of?
I want to portray characters that no one has explored before. It’s exciting to get projects like Madhur Bhandarkar’s ‘The Wives’, ‘Manwat Murders’ and ‘The Paradise’. These projects are challenging because the characters are untapped. The fear, the intensity and the emotional space they generate haven’t been explored before. That excites me as an actor.
I’m very happy that writers are writing such roles for me, directors are looking forward to casting me, and producers are paying me very well.
