‘Men aren’t going to do s**t’: Heer Sara star Maanvi Gagroo on why women must change the system | Interview

‘Men aren’t going to do s**t’: Heer Sara Star Maanvi Gagroo on Women’s Role in Shifting Systems

Men aren t going to do s - Maanvi Gagroo, who first captured the attention of young audiences via the Disney Channel series Dhoom Machaao Dhoom, has since become a prominent figure in India’s streaming landscape. Over two decades later, her work on platforms like Four More Shots Please!, Tripling, and TVF Pitchers has solidified her reputation. After a six-year hiatus from theatrical releases—her last big-screen project being Shubh Mangal Zyada Saavdhan—the actor is making a return to cinemas with Heer Sara, a female-centric road-trip drama co-starring Patralekhaa. The film, set in Pondicherry, explores the evolving bond between two contrasting women, blending themes of camaraderie and personal growth, set to debut on June 12, 2026.

Reimagining Character Roles on OTT

In a recent interview with Hindustan Times, Maanvi discussed her portrayal of Heer, the film’s protagonist, and how OTT platforms have reshaped her career. She highlighted how these platforms provide creative autonomy, allowing actors to explore diverse narratives without the constraints of traditional cinema.

“I was very worried because I didn't want to make this character so loud that she gets annoying. With bubbly, talkative characters, there's a very fine line. It can very easily get on your nerves,”

The actor emphasized the importance of balancing personality with authenticity, a challenge she faced while preparing for Heer. Working alongside writer and director Kartik Chaudhry, she sought feedback to refine her performance. “I asked him, ‘You have to help me find her voice. Please tell me if it's going too high or too low,’” she said. Initially, she played Heer subtly, but Chaudhry encouraged her to open up more. Later, he advised her to temper the intensity. “We worked together to find that balance,” she added.

The Evolution of Creative Choices

Maanvi noted that understanding a character often evolves during the filming process. “You come prepared with a notion of how you're going to play the character,” she explained. “Then there are so many other factors that come into play—like how the set operates and how the director envisions the role. By the third or fourth day, you start grasping the dynamics, and that helps shape your approach.”

The actor also reflected on her career shift from cinema to streaming. “One of the best things OTT did for me was that I was no longer hungry to do a film just because it was a film,” she said. “Earlier, there was television or movies, and you felt like, ‘I'll do any film as long as it's a film.’”

Choosing Projects That Reflect Values

Maanvi’s career on streaming platforms has given her the flexibility to select roles that resonate with her personal convictions. “There were films where I didn't agree with the politics of the story—mostly gender politics,” she mentioned. “Or my character wasn’t really adding value to the narrative. Then I felt I’d rather wait.”

“There are good chick flicks and bad chick flicks. There are good action films and bad action films,”

She criticized the tendency to devalue stories centered on women. “To dismiss something as a chick flick but glorify an action film is the problem,” she argued. “Anything women enjoy tends to be looked down upon—whether it’s fashion, makeup, or even kitty parties. All of it gets dismissed.”

Labeling and Perception

Maanvi pointed out that while labels like “female-centric” exist, they often carry societal biases. “We don’t say male-centric film,” she noted. “That’s just called a film. But when women lead it, suddenly it becomes a female-centric project.”

“It’s okay to have labels. The problem starts when one label is considered better than the other,”

She stressed that the issue lies not in the labels themselves, but in the unequal value assigned to them. “The term ‘chick flick’ is an example of that,” she said. “It’s used to downplay women’s stories, even as male-driven films are celebrated without question.”