Monika Panwar on 'Nishaanchi': 'I Always Joke That Anurag Kashyap Sir Is My Real PR'

For someone who has made a mark with almost-indie titles, which the industry didn’t expect to break out, it is ironic that Monika Panwar — the star of shows like Netflix’s franchise Jamtara (2020) and Prime Video’s Khauf (2025) — grew up watching films of Govinda.

“My work today is nothing like what I dearly enjoyed watching. I can’t imagine doing what Govinda would do. But I didn’t know anything, I didn’t know cinema. Even Shah Rukh Khan saying ‘palat palat palat’ didn’t shape pop culture for me. I was that far removed from movies,” Panwar chuckles, having quietly risen to become one of the sharpest, most promising young talents in entertainment in recent times.

Khauf, the chilling supernatural horror that has already been dubbed as one of the best Indian originals, put Panwar in the centre of paranormal activities as an outsider in New Delhi, grappling with the horrors of the city, its men, and deep-seated misogyny. Her remarkable performance as Madhu brought her back into the discourse after Jamtara, cementing that the two-season show wasn’t a mere fluke.

“I was nervous before Khauf. I wondered if the show would even reach the audience and if it does, will they like it? Because it is a slow-burn horror and not the kind of horror comedies that most people are used to. But the audience turned out to be the real PR, and the show found an organic life of its own,” she shares.

Monika Panwar in a still from 'Khauf'.courtesy of the subject

Though Panwar shot to fame with the highly entertaining Jamtara, based on the social engineering operations in the eponymous district in Jharkhand, her fear of good work going unnoticed was rooted in initial career misses and setbacks.

Hailing from Tehri Garhwal in Uttarakhand, Panwar’s childhood was far removed from Bollywood dreams. She recalls how even mentioning a career in films would invite ridicule — an unthinkable aspiration in her world. It was only when she moved to Chandigarh for her graduation that she was properly introduced to the world of drama and world cinema. What changed her life, and outlook towards how she viewed films, was The Godfather (1972).

“I was blown away by the film — it shattered my notion of acting as over-the-top drama!” Panwar laughs. “Marlon Brando and Al Pacino were so subtle in their performances, they had me completely absorbed. I’d never experienced anything like that.”

The actor started taking an active interest in plays in college while studying mass communication — “You could look like Aishwarya Rai, but within 10 seconds on stage your reality comes out,” — and decided to learn acting professionally from the National School of Drama (NSD). By then, Panwar knew the next step would entail heading to Mumbai to act in films. But there was a small barrier to cross: informing her family who, as it turns out, was supportive.

“My father was thrilled that I studied from the same acting institute as legends like Irrfan Khan, Naseeruddin Shah, Om Puri, Piyush Mishra, Anupam Kher, and Nawazuddin Siddiqui! It instantly became a badge of honour for him,” she says.

Panwar set foot in Mumbai in 2018, ready to take on the city. As an outsider, she knew patience and strategic thinking were key. So, when a major project involving Hrithik Roshan came knocking, she saw her chance. Panwar auditioned for a small role in Super 30, the 2019 biographical drama about mathematician Anand Kumar, and got her foot in the door.

Later, she bagged another small role in Imtiaz Ali’s 2020 romantic drama Love Aaj Kal. The audition went well and Panwar recalls feeling that she was being considered for a bigger part, but that wasn’t the case.

“I was heartbroken,” Panwar admits. “The set was lovely, everyone was nice, but I knew I wasn’t meant for just this. I knew I had more to offer, but there was no space to showcase it. At that point, I realised what I didn’t want to do, and that was a start.”

This heartbreak turned into a game-changing moment for Panwar when her show Jamtara, featuring an ensemble cast including Amit Sial, Dibyendu Bhattacharya, and Laapataa Ladies actor Sparsh Srivastav, premiered on Netflix to widespread acclaim.

The show’s success catapulted Panwar’s career, paving the way for a string of notable projects, including Netflix’s Choona (2023), the Prime Video feature Mast Mein Rehne Ka (2023) starring Jackie Shroff and Neena Gupta, her theatrical release Dukaan (2024), and Khauf, created by Smita Singh and directed by Pankaj Kumar and Surya Balakrishnan.

As Panwar navigates this newfound stability, she reflects on the shifting dynamics of her struggle. “The challenge evolves; it doesn’t end,” she notes. “Earlier, it was about financial security, finding the right opportunities, and meeting the right people. Now, it’s about consistently finding good scripts and hoping they resonate with audiences. With growing recognition comes the pressure to maintain momentum and not falter. I don’t want to set the wrong foot.”

Next up, Panwar is gearing up for her big theatrical release, Nishaanchi. The Anurag Kashyap directorial, which marks the acting debut of Aaishvary Thackeray, and also stars Vedika Pinto, Mohammed Zeeshan Ayyub and Kumud Mishra, will release in cinemas on 19 September.

“I always joke that AK [Anurag Kashyap] sir is my real PR,” Panwar laughs when pointed out that the acclaimed filmmaker always had only good things to say about her work, including in Khauf, which he raved about in private circles.

Written in 2016 by Kashyap, Nishaanchi delves into the complex lives of two brothers who walk starkly different paths, uncovering how their choices shape their destinies. Panwar is mum about the role she plays in the film, but terms the experience of filming the movie “unforgettable”.

“It was a dream to collaborate with AK Sir. Even now, when he calls and my phone flashes his name, I jump, and my heart skips a beat. Is it really Anurag Kashyap calling me? Working with him has been fantastic, now it is all about how the audience [reacts]. It depends on them, and if my journey is a testament, they have always come through,” she concludes.

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