“Chakka Jam”: When a Reservation Agitation Turns into the Villain of a Love Story - Gajendra Shankar Shrotriya

By Shantiswaroop Tripathi

On one hand, big-budget films starring well-known actors are struggling at the box office, while on the other, regional cinema is gaining strength by presenting grounded, reality-based stories. These regional filmmakers are bringing to the screen narratives of communities that have long remained on the margins. One such filmmaker is Gajendra Shankar Shrotriya, who sensitively portrays complex human relationships set against rural life, political environments, and tribal backgrounds. His films have not only been appreciated nationally but have also won awards at the international level.

Shrotriya made his mark with his first Rajasthani feature film “Bhobhar”, followed by the Hindi film “Kasai,” which raised several questions relevant to contemporary society. Through Kasai, he addressed beliefs surrounding spirits and ghosts prevalent in some villages of Rajasthan. He then created the web series “Vakil Sahiba” focusing on women’s empowerment, followed by “Bhawani,” a film that explores the reasons why individuals in rural settings take up arms. Now, he returns with “Chakka Jam,” a love story set against the backdrop of a reservation agitation, which will begin streaming on the OTT platform Stage from November 28.

Below are key excerpts from a conversation with filmmaker Gajendra Shankar Shrotriya:

How do you view your filmmaking journey so far?

I have been making films for 18 years now. I consider myself a self-trained filmmaker. I never worked as an assistant director nor did I take formal training in filmmaking. Whatever I learned came from watching Indian and world cinema. Films from the 1960s and 70s inspired my interest in cinema. I first learned how to write scripts by reading a few of them. My learning process has been quite interesting and it still continues. Even today, after every film, I feel there is something lacking. After 18 years, I feel I have become a good student—I now know what I need to learn. With every new film, I try not to repeat old mistakes.

Which of your films has given you the most satisfaction?

That’s a tricky question. Apart from projects for the OTT platform Stage, I made two films that were released theatrically. Bhobhar gave me satisfaction as it was my first attempt as both writer and director, made with very limited resources. However, technically it had many shortcomings because I wasn’t as mature then. Later, with Kasai, I worked with experienced actors like Meeta Vashisht, V.K. Sharma, Ashok Banthia, and Ravi Jhankal, and a trained team from the Pune Film Institute. That experience taught me a lot, especially about cinematography and sound. During Chakka Jam, I learned several aspects of sound design that were new to me. Every film teaches me something new.

What is “Chakka Jam” about and where did the idea originate?

The film is based on a short story by noted writer Charan Singh Pathik. Stage had acquired the story, but due to my prior commitment to Bhawani, another director was initially assigned. When that didn’t materialize, the project came back to me. I had earlier adapted Pathik’s stories for Kasai and Bhawani, so he trusted my sensibility. The story is set in eastern Rajasthan and draws from the backdrop of the Gujjar reservation agitation. I adapted the script according to my understanding and directed the film, which will release on November 28.

The story revolves around a soldier who comes home during training. Though he gets married, he has to return before consummating the marriage. When he comes back to take his wife with him, a reservation agitation breaks out, leading to riots and road blockades. Amid this chaos, both husband and wife set out from their respective homes. Whether they manage to meet amid tensions between two communities forms the crux of the story. The reservation movement is only the political background; at its heart, Chakka Jam is a romantic love story.

How did the reservation agitation affect the narrative?

In our film, the reservation agitation becomes the villain preventing the meeting of two lovers—or rather, a married couple.

How was the casting done?

Casting was done in collaboration with Stage through auditions. We were not looking for big stars but fresh, talented actors. Priyanshi Rathore was suggested by Stage, and for the male lead, Mahipal Singh was selected from several auditions. He is originally from Sikar, Rajasthan, and was already active in Mumbai cinema. Other actors were chosen from the Jaipur theatre and Mumbai.

Where was the film shot?

Although the story is set in eastern Rajasthan, we infused elements of the Shekhawati region and shot the film in three to four villages in Nagaur district.

Since the reservation agitation has cooled down in recent years, how will the younger audience relate?

Audiences will connect with the love story. Our protagonists haven’t even seen each other, yet they venture out despite all obstacles. Whether they manage to meet or not is the central mystery that will engage viewers.

Your experience working with the OTT platform Stage?

The biggest advantage is reach. Independent films often struggle with distribution, but Stage ensures our films reach audiences. Budget concerns are also resolved through mutual discussions. The downside is reduced autonomy, as platforms do provide creative inputs.

What are your future plans?

I am working on several stories and scripts—one aimed at global and festival audiences and another commercial film.

Why are films not performing well at the box office?

I haven’t personally dealt with box office pressures yet, but it’s evident that many big-budget films have failed. This has affected star power and increased challenges for producers.