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Pooja Hegde on 'Retro,' 'Jana Nayagan' And Betting on Herself
Actor Pooja Hegde talks about working with Suriya and Karthik Subbaraj, and being part of Vijay's last film
From Butta Bomma to Arabic Kuthu to Kanimaa, Pooja Hegde really has a knack of having her songs (and hook steps) go viral right before the film’s release. Ahead of Retro’s release this week, the actor’s carefully-curated look in the film and dance moves set to Santhosh Narayanan’s addictive beats are the rage on Instagram — and she couldn’t be more pleased.
“Everything about Retro has been such a fabulous and soul-satisfying journey. All it takes is one filmmaker with a trained eye like Karthik Subbaraj to see the potential in someone. As an actor, I’ve always wanted to be shown in a different light in projects, and this is everything I could have asked for. Right from the brilliantly-crafted teaser to my chemistry with Suriya’s character in the film, every scene just works. I’ve never gotten this many compliments for my look in a film even before it was released,” she gushes.
Next up, Pooja will also be seen alongside Vijay in the actor-politician’s last film Jana Nayagan; a project she says is a “full-on commercial, massy” outing.
“We never know what the future holds, but if it really ends up being his final appearance on-screen, then of course, I wanted to be part of it. I didn’t have to overthink this; it was an emotional decision for me after the success of Arabic Kuthu in Beast, and obviously the aim is to recreate the magic of that pairing once more. Here’s hoping H Vinoth sir gives the fans what they want!”
After no release last year, 2025 began for Pooja with the role of a journalist in Shahid Kapoor’s Deva, and she has a busy few months ahead, including an appearance in Rajinikanth’s Coolie. “As an artist, I’d love for my releases to be more consistent and spaced out for sure; I don’t want to be seen on-screen too much or too little. However, that is a business decision entirely in the hands of the producers. Similarly, after all this time in the industry, I have realised that certain things don’t pan out the way we imagine they will when we sign onto a movie. There can be a very big gap between what goes on during the making — and what eventually is the finished outcome,” she muses.
“I think I’m finally okay with saying no to certain work that comes my way, after years of just being grateful for the opportunity to be here. As much as a particular project seems great, is it really the right choice for me at that point in time? I’m learning to prioritise, listen to my inner voice and bet on myself,” Pooja adds.
She might have had her biggest hits in the commercial blockbusters, but 13 years on since her debut in Mugamoodi (2012), the actor hopes that more filmmakers in India take a chance on casting women to front their films, and not just to support a leading male star. “Just look at what an exciting time it is for female actors in the west, with the likes of Anora, The Substance, and even Challengers that revolved around Zendaya’s character. Closer home, we had Laapataa Ladies and All We Imagine as Light, both made by female filmmakers. Perhaps the current perspective that ‘commercial’ has to mean only one particular thing will change soon. For instance, a Chaalbaaz (1989) would still work today.”
She terms it a “chicken and egg” dilemma, but keeps fingers crossed that more directors put their faith in such scripts. “Only when such films are made, will we know if they’ll make money. Women in India really want to see themselves represented on screen; to relate to imperfect, insecure and complicated characters too. Or be inspired by a Captain Marvel-like figure. All these stories are important, and I’m down to support anyone who has such a vision.”