Curious
by nature.
about me
I grew up in India with an instinct to look beyond the obvious. I was always more interested in the story behind something than the thing itself — why people behaved the way they did, what happened before the moment we were seeing, and what was being left unsaid.
In 2011, while I was still in school, I decided that I wanted to work in film and television. A few years later, that decision took me to London to study Creative Media Production.
I was drawn particularly to factual storytelling. Documentary felt different from other forms of filmmaking because the story is not always waiting on the page. You have to find it.
Sometimes it is hidden in an archive. Sometimes it is in a person who has never spoken publicly about what happened to them. Sometimes it begins with a contradiction that does not quite make sense.
That process of finding the story is what keeps me interested in development.
“The best stories are often hiding in plain sight.”
From India
to the UK.
My relationship with the UK began through film education. Studying Creative Media Production in London introduced me to a different way of thinking about television, documentary and production.
It also made me realise that I wanted to build a career around factual storytelling — particularly the development stage, where research, editorial thinking and access can transform an initial idea into a compelling proposition.
Today, I am building my practice between India and the wider international factual landscape, with a particular interest in working with British production companies developing ambitious documentaries and factual series.
I bring an Indian perspective, international curiosity and a willingness to do the detailed groundwork that strong factual stories require.
What I
bring.
Development
Turning an initial thought, question or observation into a stronger documentary proposition.
Research
Editorial, investigative and archive research to uncover context, characters and story.
Contributors
Finding people whose experiences can provide the emotional and human centre of a film.
Access
Researching routes to contributors, institutions, locations and potential access.
Editorial Thinking
Asking what the central question is and where the strongest narrative tension might come from.
Pitch Materials
Turning research and story thinking into clear, considered development packages and pitch decks.
Have a story
worth exploring?
I am interested in hearing from producers, development teams, researchers and filmmakers working across documentary and factual television. If you are developing a project, looking for research support or simply want to start a conversation, I would be glad to hear from you.
Get in touch →