Set to feature in Criminal Justice 4, Surveen Chawla says Indian storytelling for women still lacks the depth seen in global cinema
Mohar Basu (MID-DAY; May 27, 2025)
Surveen Chawla has been in showbiz since 2005, long before streaming changed the game and strong female parts became the boardroom buzzword. Today, she brings fearlessness to every project, whether it’s the layered emotional terrain of Criminal Justice season 4, the textured world of Rana Naidu, the unpredictable energy of Mandala Murders, or the horror realm of Andhera. “If I don’t feel butterflies when I read it, I don’t do it,” she tells us as we sit down for a chat.
“When I read a script, it’s not just about the story on paper, it is about the people involved. Filmmaking is like cooking a great dish. You need the right ingredients, temperature, and timing. The same goes for a good project; it’s about all the little pieces coming together. The writing was strong in Criminal Justice. It has romance, depth, and a strong sense of justice,” says the actor, acknowledging that the show has a legacy — “especially given how rare it is for Indian shows to even make it to a season two — let alone season four.”
Working with Pankaj Tripathi was the bonus for Chawla, who has long been a fan of the actor. “Getting to work so closely with him was surreal. Just being validated by someone you admire is a dream come true.”
There are two kinds of actors — those who learn on the job, and those who train at film schools. Chawla has learnt on the job, while someone like Tripathi hails from NSD (National School of Drama).
“Both paths have their strengths. Pankaj ji brings the method and discipline of a film school, a proper process to his craft. Whereas those of us who’ve learned on the job bring rawness and spontaneity to the screen. We constantly pick up things from our seniors and co-actors who are trained. I often question if I’m good enough,” she shares.
Remembering being intimidated by Nawazuddin Siddiqui in Sacred Games, she adds, “[It was] not because I lacked belief in my own craft, but because of his background and training. It overwhelmed me at first. But you learn. You realise it’s really about honesty. Between ‘action’ and ‘cut’, it’s how present and truthful you are. That doesn’t need a degree.”
This year marks two decades in front of the camera for Chawla. After doing everything from iconic TV shows like Kahiin To Hoga (2003), to series like Haq Se (2018), India’s first Netflix original Sacred Games (2018), and more, she has seen a seismic shift in how female characters are written. Is she happy with the progress made?
“They’ve gotten better, but yes, just about better. We are still far from where we need to be. Sometimes, I feel we’re trying to emulate the 1960s version of Hollywood. We’re still not writing parts like they do for someone like Meryl Streep. That said, even globally, patriarchy is deeply ingrained. The struggle isn’t exclusive to our industry. The grass always seems greener on the other side, but I’m sure female actors in Hollywood are talking about their own hurdles too. The first step is to not be in denial about that reality. I’ve been lucky to be working with the most amazing men, who do not have a gender bias towards who is speaking up. I had to break the shackles to be able to speak up. Because we do hear, and it’s very real, when a woman speaks up on set, [it is said that] you’re difficult and opinionated, and that is a problem. I [know] what I bring to the table,” she asserts.
Chawla, who has a packed year, says that the work she is getting now is exciting. “What’s thrilling for me is that every show and character is different from the other. As excited as I am, I’m also incredibly nervous and curious about how these roles will be received. I feel like a kid waiting for exam results!”