Pratik Gandhi’s journey from theatre to screen can be defined by patience and intent. Rather than fitting into the industry’s mould, he has carved his own path through stories that feel real, layered, and deeply human. Drawn to characters that sit in grey areas, his work reflects a deeper shift in Indian storytelling: one that values nuance over neatness. It’s this quiet conviction that has positioned him as one of the most compelling voices in Indian film today. With a foundation in theatre and an instinct for authenticity, he continues to push the boundaries of what it means to be a leading man today.
FL: When did you realise the kind of roles you were drawn to didn’t fit neatly into what the industry was offering?
PG: Quite early on, actually. During my theatre years, I was drawn to layered, human stories. Characters with contradictions. But when I started exploring screen work, I realised the space was often more defined, more boxed. That’s when I understood that I might have to wait, or sometimes even create opportunities, rather than fit into what already exists.
FL: What do you instinctively push back against in storytelling today, even if it’s popular or widely accepted?
PG: Anything that simplifies human emotions too much. I feel real people are complex, often contradictory. When stories reduce that complexity just for convenience or formula, I find it difficult to connect.
FL: What shaped your sensibility as a performer early on, outside of training or theatre?
PG: Real life. Travelling in local trains, observing people, growing up in a middle-class household, listening to conversations around me. Those everyday experiences gave me empathy, which is the foundation of performance.
FL: How has your idea of a ‘good role’ changed over time? What does success look like to you now?
PG: Earlier, a good role meant something challenging or different. Today, it’s more about the truth. Does the character feel real? And success, for me now, is not just recognition, it’s consistency. Being able to keep doing honest work, across mediums, without losing that sense of purpose.
FL: As an artist, what are you currently unlearning?
PG: The need to control everything. I’m learning to trust the process more. Allowing space for spontaneity, for silence, for things to unfold naturally rather than trying to define every moment.
FL: What kind of Indian stories do you feel we’re still hesitant to tell, or tell honestly?
PG: Stories about the in-between spaces – the grey areas of morality, vulnerability in men, uncomfortable social truths without sugarcoating.
FL: What’s next for you?
PG: There’s a mix of exciting work coming up across formats. You’ll see me next in Hum Hindustani on Netflix, which is a story I’m really looking forward to sharing with audiences. I’m also looking forward to Gandhi with Hansal Mehta, which has been a deeply enriching experience, both as an actor and as a learner. Beyond that, I’m continuing to explore stories, while trying to push myself into spaces I haven’t explored before.
The Tastemaker Code
A ritual you’re obsessed with right now
Breathing and stillness.
Tradition you keep returning to
Theatre.
A rule you’re happy to break
That success has a fixed timeline.
Currently watching / reading
I just finished watching Tehran and am currently reading Surat to San Francisco by Mahendra Doshi.
What you never compromise on
An honest performance.
One decision that changed everything
Leaving my corporate job and choosing to continue acting despite uncertainty.
