Zoya Akhtar, Reema Kagti And Ayesha Sood On Telling Real Queer Stories Through 'In Transit'

For decades, Indian pop culture has reduced queer identity to caricature, oversized gestures, comic relief roles, or shadowy figures lurking at the edges of society. Trans characters were often framed as tragic or threatening, rarely afforded nuance, and almost never given the dignity of agency.

In Transit, a documentary series created by Zoya Akhtar and Reema Kagti and directed by Ayesha Sood, offers a quiet but powerful correction to this long-standing erasure. Instead of offering commentary about the trans and non-binary community, the series lets them speak in their own words. Set across different cities and lives, the series follows individuals as they move through love, family, identity, and a world that often refuses to fully see them.

For Zoya and Reema, known for their trailblazing work in fiction, stepping into nonfiction was an act of curiosity and responsibility. For Ayesha, the director behind the critically acclaimed Indian Predator: The Butcher of Delhi, it was about allowing real stories to unfold on their own terms.

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In this interview, the trio talks about the emotional groundwork that shaped the project, the role cinema plays in shaping public consciousness, and why this is a story that needed to be told now, without filters, without actors, and without compromise.

'We Were Curious Too'

For Zoya and Reema, the idea wasn’t born of an agenda but a question. “Curiosity,” Zoya says simply. “We were learning too. When we did Made in Heaven, people told us they felt seen. But there was also this assumption that these stories were western, urban, elite. And we just thought—let’s go find out. Let’s learn more.”

 

The result is not an educational lecture, nor a performative spotlight. It’s a tapestry of lived experiences. “We didn’t go into this thinking we were going to teach anyone anything,” says Ayesha. “We knew that nobody wants to watch a PSA. We wanted people to feel. And that comes from letting real people speak their truths.”

Why Documentary, Not Fiction?

Given the creators’ rich legacy in narrative cinema, the decision to go the nonfiction route might seem surprising. But for Zoya and Reema, it was the only way. “You can’t write something you don’t know about,” Zoya says. “And in this case, the lived experience is far more powerful than any fictionalised version. Their voices matter more than ours.”

Trust First, Film Later

Before the cameras rolled, the team spent months just listening. No crews, no lights, just voice recorders and conversation. “We started with Zoom calls, met people in person, asked questions,” Ayesha shares. “And what surprised us was how much they wanted to speak. No one had asked them before.”

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This gentle, respectful process of building trust paid off in what became an emotionally charged, collaborative project. “This wasn’t just casting and moving on. We were and still are involved in their lives,” says Reema. “Even in post-production, we were reaching out for archival material, checking in. It wasn’t transactional.”

Stories That Stay With You

When asked if there were moments that left a lasting impact, the team struggles to choose just one. “There were so many,” Ayesha says. “But I remember Aryan. He was talking about vulnerability in relationships, and after he finished, we called cut. And the room just… fell silent. I think everyone called their moms and dads after that. It was that moving.”

 

Each story, they explain, comes with its own power. These are not tales of struggle alone—they’re about joy, courage, community and love. “They’re heroes,” says Reema. “They think so deeply about identity, and about how they can give back. It’s humbling.”

Designing The Visual Language

Despite its documentary format, In Transit is visually layered, cinematic in its execution. Every frame is intentional. “We designed it before we shot it,” Ayesha explains. “We knew we didn’t want re-enactments or dramatisation. Just the person, in their own voice, framed against a visual background that holds emotional meaning.”

 

The goal was universality. “Whether they’re talking about family, love, or identity, these are things everyone understands,” Zoya says. “You forget it’s a ‘gender story.’ You just see a human being telling you who they are.”

The Role Of Storytelling In Changing Perceptions

Zoya is unequivocal: “Cinema is one of the biggest drivers of pop culture in India. So it matters how we show people. If we represent someone, we better do it with honesty and dignity.” And especially for those growing up in environments where queerness isn’t spoken about, this representation can mean everything. “If a kid sees a character who feels like them—who isn’t the butt of a joke, who isn’t ridiculed—it changes how they see themselves,” she adds. “It tells them, you’re okay. You belong.”

A Series That Sees, Without Spectacle

In Transit doesn’t push a singular message. It doesn’t speak about its subjects; it listens to them. That, perhaps, is its greatest strength. “The most powerful thing,” says Reema, “is that they are seen. On their own terms. In their own words. That’s enough.”

 

Looking back at the finished series, Zoya adds, “What struck me most is how similar we all are. Everyone wants the same things: love, respect, dignity, freedom. These aren’t niche desires. They’re human ones.”

Beyond Representation

Through its quiet strength, lyrical visuals, and emotionally honest storytelling, the series urges viewers to look beyond binaries, beyond headlines, beyond stereotypes. At a time when representation often feels like a checkbox, this feels personal, lived-in, and long overdue. So watch it—not just because it’s Pride Month, but because these are stories about love, family, longing, and resilience. Because this is what it looks like when people are finally given the space to be seen, not as symbols, but as fully human.