Filmmaker Dibya Chatterjee on his horror comedy, ‘Omorshongi’
The recently-released Bengali horror-comedy Omorshongi, directed by the young and dynamic Dibya Chatterjee, was more about love, the nuances of a relationship, death and what happens after it. We speak with Dibya to know more about it and how dark/horror comedy means to him. Excerpts:
What made you write something like Omorshongi?
The original story was conceived by Aritra Sengupta, who wrote the first draft of the film. He then shared it with Vikram Chatterjee, who found the story compelling and passed it along to Abhinav. Recognising its potential, Abhinav brought it to me, which is how I became involved in the project.
From that point on, Aritra and I collaborated closely, refining and expanding the screenplay. While the original idea and foundation of the story belong to Aritra, I contributed significantly through multiple rewrites, ultimately shaping the final draft. Throughout the process, we made substantial changes—not just in the narrative structure but also in the character arcs, pacing, and especially the ending, ensuring that the story evolved in the most impactful way possible.
Was Vikram and Sohini Sarkar always your first choices as the lead? What went into the casting?
Vikram was the one who initially discovered the story and played a key role in bringing both the producer and the director on board. In that sense, it always felt inevitable that he would portray the lead character.
As for Sohini, the decision was unanimous among the three of us—she was simply the perfect choice. She’s a powerhouse of an actor, incredibly versatile, and has an almost magical ability to bring characters to life. I’ve been a long-time admirer of her work, and coincidentally, I’ve also known her personally for quite some time. It truly felt like the role was meant for her, and we couldn’t be happier that she took it on. She delivered an exceptional performance, and if the critics’ reviews are anything to go by, audiences can’t stop raving about how brilliant she is.
What made you think that a theme or film like this will intrigue the audience?
To be honest, my primary filter for choosing a film isn’t the audience—it’s myself. As an artiste and as an individual, if a story excites me, that enthusiasm naturally translates to the audience. It’s crucial for me to feel curious and eager to explore a concept before committing to it.
Interestingly, many have pointed out that this is my second mainstream release after Afsos, and both projects revolve around themes of death. While that might be a coincidence, I do believe people are inherently fascinated by what they don’t fully understand. Death is something we know so much about, yet still, so little. That intrigue has always drawn me in.
What excited me about this story is its unique balance—it’s sardonic and tragic, yet it plays out in a very real, almost playful way. That contrast was something I found truly compelling.
Is dark comedy/horror comedy your thing?
Dark comedy is definitely my thing—I like my comedy as dark as my coffee. Almost everything I write naturally falls into the realm of dark, tragic, or adventure comedy. This stems from my perspective on the world and the literature and films I grew up with, which have shaped my storytelling approach. Dark comedy, in particular, allows for serious, weighty themes to be conveyed with a touch of humour, making difficult subjects more accessible and open for discussion in everyday conversations.
As for horror comedy, I’m not entirely sure. I wouldn’t necessarily classify Omorshongi as a horror comedy—it leans more toward absurd drama. If anything, I see it as more romantic than horror. Of course, with a ghost as the lead character, there are inevitable supernatural elements, but that’s not the primary focus of the film.
What inspired you to transition from a stable corporate job to the dynamic world of filmmaking?
My transition was driven by the pursuit of art and the unknown—the passion to create something meaningful. I’ve always been deeply fascinated by cinema and literature, reading stories for as long as I can remember. Storytelling was always the goal; it was just a matter of time before I took the leap.
I spent a couple of years in an IT job in Bangalore before deciding to walk away and fully commit to filmmaking. It wasn’t a difficult choice for me. I had already made up my mind when I was around 21 or 22—young, idealistic, and perhaps a little naive. In hindsight, that youthful ignorance made the decision and transition much easier.
What else is in the pipeline?
I have several exciting projects in the works, including a number of Hindi films. One of them is a Hindi film which I co-wrote with stand-up comedian Anirban Dasgupta and Saurabh Ghosh, which we’ve just finished. Titled Lekha, it’s a rom-com about a writer couple. We’ve recently started pitching it, and the response has been very positive.
Beyond that, I’m also working on a dark comedy centered around a spy, along with a few other exciting projects. Hopefully, we’ll be able to share more details with everyone soon!
What kind of films or shows you like to watch?
I enjoy watching almost everything. Some of my favourite directors include Martin McDonagh, the Coen Brothers, Satyajit Ray, and Hrishikesh Mukherjee. My taste is quite diverse—I love classic 70s Bollywood films as much as old-school Bengali cinema. I also watch a lot of European films, so my viewing catalogue is pretty extensive.
Ultimately, what matters most to me is a great story. Regardless of the language, style, or treatment, if a story is well told, you can count me in as an audience