Actor Anshuman Jha, famously known for his role as the “lover boy” in Dibakar Banerjee’s Love Sex Aur Dhokha, has significantly evolved in his career. Following his impactful work as both an actor and producer in India’s groundbreaking animal vigilante film, Lakadbaggha, he is now making his directorial debut with Lord Curzon Ki Haveli. This unique chamber film, a rarity in Hindi cinema, has already captured considerable attention, particularly after its successful run at various film festivals, including a notable European premiere at the prestigious Razor Reel Flanders in Belgium, a premier genre film festival worldwide. Jha encapsulates his passion, stating, “Cinema is my prayer, it is my protest, and my purpose.”
Lord Curzon Ki Haveli unfolds over a single tumultuous night at a picturesque summer house in Yorkshire. The plot escalates dramatically after a dinner gathering where the host playfully mentions a dead body hidden in a trunk, sending the evening spiraling out of control for the two couples present. This film expertly weaves together elements of dark humor, Hitchcockian suspense, and historical mystery. Starring Rasika Dugal, Arjun Mathur, Paresh Pahuja, and Zoha Rahman, it offers a satirical and quirky exploration of colonial history and relevant social commentary. Mark your calendars: the film is scheduled for release on October 10, 2025.
Anshuman’s extensive experience, assisting acclaimed filmmakers like Dibakar Banerjee, Gauri Shinde, Ram Madhavani, and Subhash Ghai, profoundly shaped his vision. He reveals that the initial spark for Lord Curzon Ki Haveli came from the German play Mr. Kolpert, which he staged at the Thespo Theatre Festival in 2005. “The suspenseful narrative and its dark humor resonated deeply with me,” Jha explains. He also cites his admiration for Hitchcock’s Rope, noting, “I realized that in India, the tradition of making chamber films seems to have faded; Trapped is the most recent one I can recall.”
He later brought this concept to Bikas Mishra, who had previously directed him in the critically acclaimed film Chauranga. “After the second draft,” Anshuman recounts, “I insisted that it needed to be shot with a single lens. There was a point where, while reading the script, I could only imagine listening to Beethoven.”
Eventually, Mishra encouraged Anshuman to direct the film himself. “He felt I would end up ghost-directing it anyway,” Jha chuckles, recalling the conversation. Anshuman delved into specific technical choices, such as the evolving color palette that deepens with each act and the use of a single lens that gradually tightens its focus on the characters as the tension intensifies.
Initially uncertain about securing funding, Anshuman presented the story at the South Asian Film Market in Singapore, where Vistas Media Acquisition Company quickly showed interest and picked it up. Despite the COVID-19 pandemic causing delays in bringing this slow-burn thriller to fruition, Anshuman notes that the market’s enthusiasm for the project remained undiminished.
The film has recently secured American distribution rights with Buffalo8. Anshuman firmly believes in the principle that while budgets can fail, films themselves do not. He reflects, “Having great mentors in life taught me that if you stay true to yourself, you’ll naturally pursue what you love, and then you’ll acquire what you genuinely need. This is the fundamental process for any artist and a decent human being. The unfortunate reality of our film industry, however, is that it often prioritizes desires over genuine necessities.”
Beyond its genre classification, Lord Curzon Ki Haveli delves into profound themes of identity and the inherent insecurities faced by immigrants in a foreign country. Anshuman highlights his consistent choice of genre films with underlying social commentary, from Love Sex Aur Dhokha to Lakadbaggha. “I understand that cinema cannot single-handedly transform society,” he states, “but it can certainly ignite meaningful conversations.” This approach guided him in crafting a layered black comedy thriller, precisely as Bikas had envisioned in the screenplay. He shares personal observations: “When I interact with friends from the UK, I often notice a sense of identity confusion. Their assumed British accent tends to fade when they are in India. My wife, Sierra, is American; here, she’s perceived as an expat, while in the US, I am an immigrant. As an avid observer of life, I’ve endeavored to intertwine these nuanced elements into the film.”
Jha also points to the persistent issue of Asian squatters in the UK, especially in summer residences, as another thematic influence. “Combine that with the profound impact films like Bonnie & Clyde and Natural Born Killers had on me during my college days,” he explains, “and I allowed my imagination to explore the intricate ideas of identity and insecurity.”
The film’s title itself is significant, referencing Viceroy Lord Curzon as a deliberate reflection on the historical injustices committed against Indians during his administration. “The British, generally, are rather uncomfortable discussing their colonial past,” Anshuman observes. “I harbored considerable uncertainty about how the local audience would receive our film at the British Asian Film Festival, where it was the closing feature. Yet, the overwhelmingly positive reception prompted me to consider whether too much of this ‘us vs. them’ mentality is ingrained in us, making us lose sight of each other as unique individuals. I truly believe that cinema possesses a unique power to bridge such divides.”
Anshuman is set to continue his directorial journey with Lakadbaggha 2: The Monkey Business, slated for release in the first half of 2026. Filmed in Indonesia, he assures audiences that this sequel will deliver India’s most ambitious hand-to-hand combat film yet.
“Building upon the adventures of Arjun Bakshi, our animal-loving vigilante,” Jha explains, “the goal is to create a global spectacle centered around an endangered monkey species. For this, I’ll be collaborating with martial arts experts Sunny Pang and Dang Chupon, who will lend their unparalleled skills to the project.”
The Lakadbaggha franchise, successful both as a film and a comic book, has ignited important dialogues about the welfare and protection of stray dogs. With animal welfare once again a prominent topic, Anshuman advocates for giving coexistence a fair chance before resorting to removal. He calculates, “If my figures are accurate, vaccinating stray dogs would cost merely one-tenth of what’s needed to construct shelters for them.”