"Allow Yourself to be Vulnerable" - Interview with Sruthi Subramanian

Sruthi, can you tell us more about yourself as a director and about your short films Odds of a Goodbye and Illam?

I’m an independent filmmaker and creative producer based in Atlanta, Georgia. I originally moved from India to the United States to pursue my passion for cinema and as a storyteller, I’m deeply interested in exploring nuanced emotions, those quiet feelings that are sometimes difficult to articulate but very human and universal. 

Both of my short films, Illam which I produced and directed and Odds of a Goodbye -which I lead produced, explore intimate human relationships but through very different lenses. Illam is a family drama that looks at generational conflict within a traditional South Asian household and explores how love between parents and children can sometimes be misunderstood. Odds of a Goodbye, on the other hand, is a romantic drama that reflects on love, timing, and the bittersweet nature of parting ways. At their core, both films explore the emotional tension between love, expectation, and vulnerability.

What was your inspiration for making these short films?

My inspiration usually comes from observing people and relationships in everyday life. I’m fascinated by the emotional spaces between people, especially when things are left unsaid.

Illam resonated with me very personally because it explores the perspective of a father navigating cultural expectations and generational change. Coming from a traditional background myself, I’ve seen how deeply love and concern can shape the decisions parents make, even when those decisions feel difficult for their children.

With Odds of a Goodbye, it was a story personal to the film's director, Mohit. When the story was first pitched to me, I was immediately drawn to the idea of the main character self-sabotaging within a relationship, especially through a non-linear storytelling structure. It felt very authentic, almost like a stream of memories replaying in someone’s mind while they’re going through a breakup, revisiting moments and wondering what could have been different.

What was the biggest challenge you faced on the production of your short films? How did you overcome it?

One of the biggest challenges in making independent films is always resources, whether it’s time, budget, or logistics. But what I’ve learned is that filmmaking is ultimately about collaboration and problem-solving. During production, there were many moments where we had to adapt quickly, whether that meant adjusting schedules, rethinking creative solutions, or finding ways to maximize the resources we had. What helped us overcome those challenges was the incredible dedication of the crew. Everyone believed in the story we were telling, and that collective energy made a huge difference. In independent filmmaking, creativity often comes from constraints, and I think those challenges ultimately made the films stronger.

Could you share a moment during your short film’s release or distribution where you felt that your film truly had an impact on the audience? How did that feel for you as the director?

One of the most meaningful moments for me was hearing audience members/ friends share how deeply they related to the characters and their experiences. When people from completely different cultural backgrounds connect emotionally to a story, that’s when you realize how universal human emotions really are. I still remember my editor for ILLAM sharing that the story feels very real, especially since her cousin sister went through a similar situation at her house, and also turns out to have the same name as our main character, 'Priya'. Hearing that was incredibly moving because it meant the story had gone beyond the screen and resonated with someone’s real life.

As a filmmaker, those moments are very special. They remind you why storytelling matters.

Tricky question, but one that sparks discussion among us artists: why do you create?

There are so many emotions and experiences that people carry but don’t always express openly. Film has this beautiful ability to hold those feelings and present them in a way that allows audiences to reflect on their own lives. At the same time, as a woman working in the film industry, I’m also very aware of the unspoken responsibility that comes with being visible in this space. There’s an expectation, one that I welcome, to inspire young girls who dream of becoming filmmakers. For a long time, the industry has been shaped primarily by male perspectives, and while those stories are important, there are still so many narratives from women’s perspectives that the world has yet to fully see.

Women observe the world differently. We process emotions differently, and that naturally influences how we tell stories. Even the way we frame a scene on camera can reflect a different sensitivity or point of view. These differences are opportunities to expand what cinema can be. It’s interesting to think that no woman cinematographer has won the Oscar for Best Cinematography yet. Moments like that remind us how much room there still is for new voices and perspectives in filmmaking. But I also find that incredibly exciting. It means we are still at the beginning of something. There is space to experiment, to redefine the language of storytelling, and to show that women deserve to tell stories just as much as anyone else. Creativity doesn’t come with a blueprint. There is no single correct way to tell a story, no rulebook that defines what makes a perspective valid.

For me, creating is about embracing that freedom. It’s about trusting my instincts, diving into the emotional truth of a story, and allowing my own perspective to shape the narrative. If my work can encourage even one young girl to believe that her voice matters in cinema, then that’s already a meaningful reason to keep creating.

What is your motive, and what pushes you to explore the topics you explore in Odds of a Goodbye and Illam?

I’m drawn to stories about relationships, especially the complicated dynamics within families and romantic relationships. Sometimes the most powerful drama doesn’t come from big events but from small emotional shifts between people. A misunderstanding, a silence, or an unspoken truth can change everything. My motivation is to tell stories that feel authentic and emotionally raw, stories that allow audiences to sit with those feelings and reflect on their own relationships.

A lot of people on Indie-Clips are independent and/or beginning filmmakers. Can you share one piece of advice to our audience making their first short film?

My biggest piece of advice would be to allow yourself to be vulnerable. The most powerful stories come from a place of truth. When a film carries an honest emotion, the audience can feel it immediately. If it feels uncomfortable or a little scary to talk about something personal, that’s often a sign that you’re moving in the right direction creatively. As a Gen Z filmmaker, I think our generation is learning to be more open about emotions and experiences that previous generations might have kept hidden. We’re not afraid to embrace the awkwardness or the “cringe” that comes with being honest about who we are. In many ways, that honesty is where freedom comes from. When you show the parts of yourself that feel real and unfiltered, other people begin to recognize pieces of themselves in your story.

So I would encourage filmmakers to ask themselves a simple question: when you are completely alone, who are you? What are the thoughts, fears, or memories that stay with you? If you make a film about that space of honesty, you’re not just telling a story, you’re creating a safe space where other people can feel understood and at home in the emotions you’re sharing. And that’s one of the most meaningful things storytelling can do.

Any future plans? Tell us more about your upcoming projects!

Right now, I’m really focused on continuing to involve myself in the independent film scene here in Atlanta, Georgia. It’s an exciting place to be as a filmmaker, with so many creative people and productions happening in the city. Recently, I had the opportunity to associate-produce a romantic comedy feature film and co-produce an action-romance short. Both were incredibly fun productions with very talented cast and crew members, and I’m really excited for those projects to eventually make their way out into the world.

Alongside those projects, I’ve also worked on a few other short films in different capacities, including as a first assistant director and as part of the production team. I enjoy being involved in different roles on set because it helps me understand filmmaking from multiple perspectives and strengthens my collaboration with other departments. Looking ahead, I’m hoping to continue working on more narrative projects this year. I’m currently exploring opportunities to be part of another feature film production, so fingers crossed that comes together soon. For me, the goal is to keep learning, keep collaborating with passionate filmmakers, and continue telling stories that resonate with audiences.

Where can we see your work? Any way fellow filmmakers can get in contact with you?

My short films are currently screening at film festivals around the world, so the best way to follow my work and updates is through my website and social media.
I am also happy to connect via email: sruthisubramanian31@gmail.com

Website: https://sruthisubramanian3.wixsite.com/31sruthi
Instagram: @sruthi.hii
IMDb