From working with Shanaya on two distinct characters to exploring the growing pressure of competition, popularity, and validation among today’s youth, Reema opens up about the creative vision behind the thriller and the challenges of bringing its complex characters to life.
Excerpts from the interview
1. The Student of the Year title has traditionally been associated with glamour, romance, friendship, and campus rivalries. What made you take this familiar universe into the darker territory of a thriller?
Reema Maya: Student of the Year: After Dark is a young adult murder-mystery competition series that reimagines the franchise for today’s generation. It is an angsty and gritty project that explores the hyper-competitive mindset young people face and how it impacts their friendships, interpersonal relationships, and sense of self.
The world we have created is fairly dark, filled with imperfect people dealing with conflicts both within themselves and outside. Every individual is fighting their own battles, and that became the foundation for the universe we wanted to establish.
2. How much preparation went into helping Shanaya Kapoor switch between two characters, particularly while shooting emotionally demanding scenes?
Reema Maya: One thing I always do with my actors is sit down with them individually, understand their life experiences, and explore the connection between their personalities and the characters they portray. When we cast someone, we usually recognise certain truths they bring to a character during auditions and meetings. Those truths often have roots in their own lives.
Understanding where those emotions come from helps establish a strong connection between the director and the actor. It also creates a foundation that becomes particularly valuable when things get hectic on set.
We followed the same process with Shanaya through several in-depth conversations. We clearly distinguished between Aditi and Ayesha, exploring what motivates each character, their personal histories, interpersonal dynamics, and the reasons behind their behaviour, appearance, and emotions.
We treated them as two entirely separate individuals, and I think Shanaya worked really hard. She was very prepared.
3. You have described the show as a thriller rooted in competition. Given how young people constantly seek validation through popularity, academic achievements, and social media, how much of this real-world pressure is reflected in the narrative?
Reema Maya: A lot of these real-world pressures find their way into the narrative. That was one of the conversations I wanted to have with the audience the show is intended for. Through the storyline, the competition, and the different characters, we hope to create emotional resonance and relatability.
While creating and directing the project, I often found myself wondering whether people we perceive as grey are actually just good kids caught in difficult situations. It also made me think about what the world would look like if we weren’t constantly pitted against one another in competition.
4. Is there a film or series that significantly changed the way you look at filmmaking?
Reema Maya: It is difficult to single out just one because so many films and series have influenced my understanding of filmmaking and inspired me to pursue it. However, one film that immediately comes to mind is Eternal Sunshine of the Spotless Mind.
I loved its psychological depth and genre-blending approach. It was a romance, but it also had elements of a psychological thriller, which I found particularly exciting.
Another project that left a strong impression on me was a French short film called L’homme sans tête (The Man Without a Head). It showed me that filmmaking and imagination have no limits. As long as you are clear about what you want to communicate, there are always unique ways to tell a story.
5. Do you believe independent filmmakers are receiving more opportunities to bring unconventional storytelling into mainstream entertainment?
Reema Maya: Definitely. The growth of streaming platforms and social media has brought a greater sense of democratisation to the industry, and the boundaries between different kinds of filmmaking are gradually becoming less rigid. However, I believe there is still a long way to go.
I would like to see even more opportunities for filmmakers. Directors should not be restricted to labels such as independent or commercial filmmakers. Artists should be recognised for their talent and capabilities, and the industry should be willing to back different filmmakers for the versatility and creative perspectives they bring to the table.
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