Filmmaker Onir is set to showcase his latest film, We Are Faheem and Karun, at the prestigious BFI Flare 2025, a renowned queer film festival. This achievement holds a special place in his heart, as it marks the first time he has both fully produced and directed a film on his own. “This is a passion project, and I take immense pride in the fact that the story is rooted in Kashmir, featuring Kashmiri actors who will be joining me for the festival screening,” he shares.
A Landmark Queer Story Set in Kashmir
The film is notable for being the first queer narrative set in Kashmir, a choice that Onir made with deep intent. “The story was inspired by real events, but beyond that, I wanted to place this narrative in a region where such discussions are almost nonexistent,” he explains.
He points to the success of Sabar Bonda, a Marathi film that won at Sundance 2025 and is set in rural Maharashtra, to highlight why setting matters. “There’s a strange argument in Parliament that LGBTQIA+ issues only exist in urban spaces. This is why I felt it was crucial to take the story to a remote area—because queerness is universal, unaffected by geography or religion,” he asserts. His film explores this by portraying the love story between a Kashmiri local and a man from Kerala, breaking multiple barriers beyond just sexuality.
The Fight for Authentic Queer Representation
Despite growing LGBTQIA+ representation in cinema, Onir believes mainstream narratives often do more harm than good. He draws a comparison with women-led films, such as All We Imagine As Light and Laapataa Ladies, which, despite critical acclaim, remain overlooked while commercial blockbusters like Animal dominate screens. “We talk about the need for more women filmmakers to tell their stories, and the same applies to queer voices. If we don’t tell our own stories, the majority’s perspective dictates the narrative—whether it’s about religion, sexuality, or anything else,” he states.
He also criticizes how commercial films often mock or misrepresent the queer community. “When that happens, it’s not just our loss. It’s a setback for the entire society, keeping the heteronormative world from evolving into something better,” he adds.
Navigating the Industry as an Openly Gay Filmmaker
As an openly gay filmmaker, Onir admits that biases in cinema mirror real-world prejudices. He shares instances of people making insensitive remarks, like telling him he doesn’t “seem gay” or awkwardly labeling him as “a gay” in professional settings. “No one says ‘you are a straight.’ These everyday microaggressions can be exhausting. Sometimes, I brush them off. Other times, I remind myself that I’m above it,” he says with a wry smile.
Looking at the film industry today, Onir feels it has become increasingly self-centered. Reflecting on his past success, he notes, “When I Am won a National Award, everyone celebrated with me. Today, filmmakers hesitate to invite people to screenings or share screeners because social media validation has become everything. It’s all transactional now, and for independent filmmakers like me, that makes things even harder.”
Despite the challenges, Onir remains committed to telling meaningful stories. With We Are Faheem and Karun, he continues to push boundaries, ensuring that queer voices are heard where they have long been silenced.
