'Maa Behen' Director Suresh Triveni on What He's Eyeing Next: 'Subedaar 2' or a Horror Film?

Suresh Triveni’s idea of a break is as unpredictable as his filmography. He debuted with the slice-of-life Tumhari Sulu, pivoted to the slow-burn thriller Jalsa, mounted the high-octane action drama Subedaar, and has now delivered the Netflix feature Maa Behen, a deliciously chaotic comedy-thriller starring Madhuri Dixit, Triptii Dimri and Dharna Durga. After his latest Netflix outing, where does the filmmaker see himself jetting off to?

"My idea of a break is to just be in Mumbai," he laughs. "I like to explore the city with a new gaze; go to a cafe I’ve always passed but never entered, or just sit at a favorite joint with absolutely no agenda," the filmmaker tells THR India.

Naturally, the director already has a few concepts brewing for his next feature (including several discussions with Maa Behen writer Pooja Tolani). But one might have to wait for him to lock a script, a process that can only begin once he concludes his grand, exhausting vacation— of sitting at a local coffee shop.

Edited excerpts:

How do you map these last 10 years for you as a filmmaker? Can you trace back a very specific learning from this decade?

Honestly, there was a time when I really thought that I wouldn’t be able to make a film at all. Whenever I'd watch a truly remarkable film, I'd get very angry! I remember watching Kapoor & Sons and being completely blown away. I turned to my wife and said, "I’ll never be able to make a film." I had been trying to get a project off the ground since 2007–08, and ten years just passed by with nothing happening while I stayed busy in advertising.

Finally, it happened. Strangely, life doesn’t have a background score, so you never really know the exact moment you've achieved your dream.

But after Tumhari Sulu, I went into an absolutely blank phase. All I had ever dreamt of was making just one film. Suddenly, that was done, it did well, and I had no clue what to do next.

During that blank phase, I visited all the 'Meccas' of production houses. It felt very good, and I started taking myself far too seriously. I began wondering why my Instagram wasn’t verified yet and why I wasn't being invited to this preview or that event. People around me started making me aware of things that no one in this industry should ever pay attention to, and as a result, I actually started writing some terrible material.

One day, I realised I was falling directly into my own trap of chasing awareness, taking myself too seriously, and obsessing over why I wasn’t being called for round tables. With success also comes a massive wave of insecurity. So, I made a firm decision: I wouldn't make a film until the moment I truly wanted to make one.

What does that mean?

I said no to a lot of offers that came my way. Some I regret, and for others, I look back and say, "Well done, Suresh." All of that happened, and then finally, Jalsa came together.

If I had to pinpoint one definitive learning, it's that you should make a film only when you genuinely want to. If you have the creative freedom to do that, there is no bigger joy. Secondly, you should only make a film on your own terms. That realisation is the exact reason I officially turned producer from Jalsa onwards.

It wasn’t strictly for commercial sake — though commerce is certainly a benefit — but I became a producer so I could control the output. The good, the bad, everything is mine. That choice has really paid off for me, and I am incredibly happy with the core team I have assembled.

All four of your feature films are so radically different in terms of genre...

(Laughs) Manav Kaul once told me, "You think you are making a completely different film, but you are actually making the exact same film." I asked him what he meant by that, and he said, "Look at Tumhari Sulu — there is a woman who goes out to work at night. In Jalsa, you put that woman out in the night again, and an accident happens. Woman in the night. Now you have Maa Behen, and once again, it takes place at night."

It’s an interesting progression. My wife was actually pointing out the same thing to me the other day: the first film centered on one main character, the second had two, and suddenly Maa Behen has three. In my own head, it functions almost like a trilogy.

One of the main reasons I jump genres is because I have always deeply appreciated filmmakers who successfully dabble across various styles. One of my favourite filmmakers of all time is Mani Ratnam — he is essentially my correspondence school. I never got the chance to work with him or interact with him much, but if you analyse his filmography, he has done a vast array of work.

Dabbing in new genres keeps you fully activated. Because you haven't tackled that specific space before, you are forced to remain completely alert throughout the entire filmmaking process. Otherwise, I get bored.

So what are you hopping on to next? Could a Subedaar 2 happen down the line?

I know there is a strong keenness for Subedaar, and people frequently tell me that I should definitely plan a sequel. I am very open to the idea. Now that I have fully set up the character, and seeing how exceptionally well it has performed for Amazon Prime Video, it makes sense.

While no official script work has started and no formal communication has happened just yet, I think having a franchise is a good idea. If you possess an established property that can work as a franchise, then why not? It just needs to fall into place organically. Currently, there are no active talks, but given the chance and a story that flows naturally, I would absolutely love to make a sequel.

Is there a specific idea or a genre that you are incredibly keen to explore?

There are a couple of ideas, actually. In fact, Pooja Tolani and I are in talks about a new concept. Genre-wise, I am very keen to direct a horror film. It’s a space I haven't tried my hand at yet, and I really want to attempt it.

Additionally, I am deeply keen to make a film for kids. That is something Pooja and I have been discussing quite a bit. So yes, there are distinct subjects we are exploring, but nothing is completely locked in yet.