“I am now working on the sequel of 16 December,” Mani Shankar on 23 years of Indian Cinema’s first fluent futuristic flick | Hindi Movie News

Mani Shankar is a filmmaker whose work has always pushed the boundaries of conventional storytelling, blending intense action with sharp social commentary. Known for his 2002 thriller 16 December, which explored the internal vulnerabilities of a nation in a time of rising global threats, Shankar has carved a distinct niche in Indian cinema. His films are marked by a deep sense of realism, a flair for gripping narratives, and an ability to provoke thought about the underlying issues that shape society.
In this candid interview with ETimes, Shankar takes us through his creative journey, offering a fascinating look at the making of 16 December, the challenges of working with a diverse and talented cast, and the profound message embedded in the film’s screenplay. With 23 years since its release, Shankar reflects on the lasting impact of his work and provides an intriguing glimpse into the making of 16D2, the anticipated sequel to 16 December, which promises to take audiences on another thrilling ride through the complex landscape of contemporary India.
Your film, 16 December, didn’t get its due when it was released on 22 March, 2002?
I carried the script of 16 December in my heart for many years before it became a movie. The core of the story was visible everywhere: as a nation, we were sowing the seeds of our destruction, and the enemies within were more harmful than those outside. Our internal corruption, apathy, and rampant greed had made us vulnerable to exploitation—by someone as clever as Dost Khan, ably portrayed by Gulshan Grover.
How did you manage to find a producer for this audacious project?
In 1998, I had a memorable narration with producer Shripal Morakhia of iDream Productions at the Taj Club in Mumbai. The meeting lasted until the wee hours of the morning, and we finally shook hands on making the movie. At 2 AM, there wasn’t any paper around to draft a basic MOU, so we used a hotel napkin to quickly sketch out a draft agreement!
The interesting cast added considerably to the aura of the apocalypse.
Milind Soman was an obvious choice—he had the looks, panache, and attitude for the lead role. Nobody warned me it wouldn’t be easy to work with him. Milind would need to be endlessly convinced of every little detail. He was my nemesis, mentor, and lead actor rolled into one! I was privileged to work with Danny Denzongpa. I’ve rarely met such a fine gentleman and superb professional, and he is a great inspiration. Whenever he got upset over something, Danny would go into a corner and sing an alaap loudly.
I know Danny loves to sing…
Yes, that was his way of centering himself! Very effective. I recommend everyone try it! Anjali Joshi was my EP, first AD, creative sounding board, production designer, and dialogue writer all rolled into one! We were obviously on a shoestring budget, and she expertly bootstrapped the shoot, managing with pennies wherever possible. With Gulshan Grover, I learned how much a committed artist can contribute to a film. He would redesign his own clothes, do his own makeup, and work endlessly on his dialogue deliveries. Watching him, I learned something new every day of the shoot! Sushant Singh was a surprise. Initially, his role wasn’t very big, but the way he breathed life into every scene meant there was no way I couldn’t keep extending his character—until he emerged as a hero in his own right.
I wonder what happened to the lovely Dipannita Sharma?
With Dipannita Sharma, it was love at first sight. During the audition, I realized the value of pulling in a lead actor who had never worked in a movie before. She brought a natural innocence and awkwardness that no amount of ‘acting’ could have created. Her unconscious performance gave so much gravitas. She became a kind of soul force of the film. Gentle, determined, and relentless, her feminine energy pervaded every sequence.
The screenplay was a conundrum.
I worked endlessly to create a seemingly baffling jigsaw puzzle of a screenplay—where many random pieces seemed to fit initially and form a pattern—but only when they got rearranged did a new truth emerge. Hidden behind the puzzle was a shadow of the antagonist—silently pulling strings and leading events toward a catastrophic climax. When he was revealed, we didn’t really see him; we saw ourselves, our own flaws and weaknesses as a nation. That was the profound moment when we realized how weak we had become as a country and how easy it was to bring destruction upon ourselves. That was the soul of the film; it was tragic, true, and irredeemable.
And now, 16 December Part 2?
Yes, now I’m actually writing a kind of sequel. I’m calling it 16D2 for now. It’s a modern take on the state of the nation today. It will be action-packed but with deep, enduring emotion—some of which we have never seen before in cinema. It will be out in 2026. Actors have changed, times have changed, but the situation is not much different. We are still vulnerable. But in a way we can’t ever imagine. 16D2 will be an utter surprise thriller of a kind rarely ever seen before. I’m confident it will match and surpass the response the original film got 23 years ago.