Women of She Directs Ads share the experiences of being an ad filmmaker

Journeys of artists and creative professionals are quite often unique and incomparable. The interplay of several variables influences where and how—or if—one reaches their destination. Direction, specifically ad direction, has been a niche space long dominated by men for reasons not unbeknownst—limited access, uncertain nature of the job, social structures, biases, et al. 

Making one’s own place in the industry hasn’t been an easy pursuit for women directors. For years, women have had to deal with the implicit—and often explicit—biases that have plagued all arts and professions. While the situation has improved, the playing field hasn’t been even for everyone. From academic backgrounds to residential proximity to opportunities to industry contacts, numerous factors have influenced the journeys of women ad filmmakers.     

As of mid-2025, the conversation around inclusivity is picking up pace, and the impact of female visionaries is undeniable. We connected with some of India’s most compelling women ad film directors, many of whom are the driving force behind the 'She Directs Ads' collective, inviting them to open up about their individual paths, the evolution of their distinct voices, and their perspectives on an industry that's finally, truly beginning to change.

The winding road to "Action!"

The paths these women took to directing commercials are as diverse as their filmmaking styles. For Akanksha Seda, a self-proclaimed "child of television," the initial foray was through the high-energy world of on-air promotions at major networks like Sony, Times Network, and National Geographic Channel. "That world is quite similar to advertising in that it’s short-form, high-impact storytelling," she explains. These roles were more than just a training ground; they "armed me with hands-on post production skills" and, crucially, "made me taste blood with direction and studio shoots." The transition wasn't seamless. A "leap of faith into the unknown from the safety of a corporate job to the world of freelance advertising had to be taken," Akanksha recalls, but it was a leap she hasn't looked back from. "With ad films I found a lot more creative freedom, and yet organised structures within which to find my voice. To be able to tell a memorable story, evince an emotional response and build brands in 30, 20 and even 6 seconds is both a challenge I am drawn to, and a high I continue to chase."

Anna Joseph initially set her sights on feature films, but the "frustratingly high cost of living" in Mumbai steered her through a varied production landscape, encompassing television, documentaries, and music videos. Advertising, she admits, "had always felt like the slightly out-of-reach cool kid." Once she immersed herself in it, however, a sense of belonging took root. "I liked how every project offered the chance to discover a new world, a new way of seeing things. It really worked for the part of me that resents stuckness and thrives on change." This adaptability and desire for constant evolution became hallmarks of her journey.

Tarannum Pasricha’s career trajectory was less happenstance and more "something I planned carefully." Her artistic inclinations were nurtured early; "Back in Class 9, I used to hang out with my sister’s college friends at Delhi College of Art." This led her to major in Applied Art, which she notes is "basically advertising." A serendipitous encounter with a brochure for cinematography sparked a deeper ambition: "It hit me — I didn’t just want to create visuals; I wanted to tell stories through moving images." Practical experience was key; "During summer breaks, I made it a point to work with people who made films." A moment of kismet arrived when, after admiring a Pepsi commercial, she found herself interning the very next day with the team that created it. "That moment sealed it for me — I knew this was what I wanted to do."

Afshan Hussain Shaikh of Not Bad Films candidly shares, "I won’t lie that something profound sort of happened or a mighty moment dawned on me , I just happened to be in the right place at the right time." The critical ingredient was mentorship. "I had a fantastic mentor Kunal Kapoor (Adfilmvalas)… and because I had a great teacher , the honesty towards learning was already there within me , it was the right guidance that made me see the beauty of making commercials." Her relationship with the medium has matured over time. "I have eventually over a period of time only have started to love the medium or cherish the medium that has given me so much. And I take the future of advertising seriously, so its no longer a task of just making commercial. It making a brand, that’s when you know you have understood this medium."

Monica G Gambhir, Co-Founder & Film Director at Cutawayy Films, brought a strategic marketing mind to her filmmaking career, armed with a double post-graduate degree in the field. "Growing up, I used to dream of sitting behind those glass doors, building a brand that would live forever," she reminisces. Her path, however, led her to "the other side," helping multiple brands find their voice. The allure of ad filmmaking was sparked by friends in the industry who "would constantly share stories about the magic behind ad filmmaking — the creativity, the energy, the passion on set." A fateful day on the set of a Lays ad film solidified her calling: "That day changed everything. I fell in love with the process — the storytelling, the emotion, the sheer power of crafting moments that move people."

The director's gaze 

How does their identity as women, with their unique lived experiences, shape their creative output and leadership styles?

Seda views a director's job as being "more off-set than on it," essentially a continuous stream of ‘choices’ that shape the vision. "My gaze, is neither better or worse than a male gaze, it’s just different," she asserts. "Like all other women directors, my decisions, taste, aesthetic, tone - all come from my lived experiences, a woman’s lived experiences, which until 5 to 10 years ago, weren’t easily accessible, or even necessarily desired." This underscores a shift not just in creators, but also in audience reception.

Joseph identifies "a gentleness" in her filmmaking, "both in process and result," as a "conscious choice." She reflects, "I used to find the industry very harsh - I still do. I'm a pretty sensitive person (which is both a strength and a challenge in this profession), and I used to retreat under the aggression I often encountered as a young assistant director." This led to a pivotal resolution: "I remember thinking then that if I ever had the power, I’d lead differently - with more kindness, both toward my crew and in the way I told stories." While she hasn't felt pressured to adopt a specific style, she has "wrestled with what kind of leader I want to be. Sometimes, softness is mistaken for weakness, and there’s definitely pressure in this industry to be louder, tougher, more commanding. That never felt authentic to me." Now, she confidently embraces her approach: "I’m now at a point in my career where I understand myself well enough to lead in a way that’s true to who I am - and to trust that there's strength in softness."

Gambhir’s creative voice is "rooted deeply in characters." Her process begins with empathy: "Whenever I receive a script, my first instinct isn't to immediately think about the camera angles or the visual grammar — it's to feel the story from the character’s point of view." Once that emotional core is understood, "the visual choices, the color palette, the pacing, the tonality — all of it flows from that emotional center." She believes being a woman brings "a natural inclination to tune into the unspoken moments, the smaller gestures, the quiet strength or vulnerability that often gets overlooked... It’s not about making 'softer' films — it’s about making truthful ones. Stories where emotions aren’t manufactured but deeply lived," which is crucial in advertising where emotions must "land quickly and honestly."

Pasricha brings a refreshing pragmatism. "Honestly, in advertising, we mostly tell stories about perfect people living perfect lives — I’m fully guilty of that. It’s not some deep, emotional, womanly perspective every time. Sometimes it’s just about making shiny hair look shinier, or a pizza look more delectable." Yet, she champions authenticity and looks forward to a time when gendered perspectives aren't the primary lens: "Good work is good work — whether it’s shot through a male gaze, female gaze, or just a really expensive lens. The whole point of something like SDA is that one day we don’t need an SDA."

Shaikh emphasises unwavering honesty to the craft. "With so many guidelines and the changes in medium the least one can be is , honest from within what films they like to make or produce and be honest while filming that one is not copying something , there is a difference being taking inspiration or copying something frame by frame . The least one does is be honest to their craft. Thats alll that is to it."

Moments of truth 

The path is rarely smooth, often marked by subtle and overt challenges. Joseph speaks of an enduring struggle: "Many years later, with a lot more experience and confidence, I still find myself walking into meetings where the male client will address the men on my team and not really include me in the conversation. And it will still hurt." She adds, "There are still moments where I will feel invisible on a set because someone has spoken over me or dismissed something I've said, even though on paper I hold the most power in that space. It’s hard to reconcile those two realities sometimes."

Shaikh powerfully articulates the immense effort required: "Yes I would say after becoming a director us as women we are working 5 times harder to make it , prove it , prove it while also going through changes with your body of bleeding for 20 days and surgeries." She also highlights the fight for fair compensation: "The idea of one thinking that they are making you career is any day bigger than the pay scale you receive, is a problem."

Gambhir recounts an incident that, while amusing to her, exposed casual bias. After a detailed discussion with her and a male director, an agency head turned exclusively to her to ask, "So, what does your husband do?" "He hadn't asked the other director what his wife did — only me," she notes. Her response? "I just gave him a long, knowing smile and let it hang there in the air... It didn't upset me — it amused me, really. Because in that moment, it was clear: the work should do the talking. And it always will."

But alongside these challenges come moments of profound validation. For Joseph, her Levi's film with Deepika Padukone "sort of catapulted me into a bigger league." Yet, on a more personal level, "I feel most seen when I'm approached to make quieter films about the little moments. That’s where I feel I do my best work."

Shaikh felt a significant sense of appreciation for the Bajaj Pulsar Riderless job. "It felt nice because while learning I was always taught that any work that I do should not be trademarked as a job that can only be directed by a woman or a man... it was the kind of job that for me as director broke those barriers. Gave the push, being appreciated by the seniors or by fellow directors."

Gambhir’s work on the TATA Cancer Care Trust campaign, "Kaise Ka Cancer," was deeply affirming. "It wasn’t just about portraying the patient’s battle with cancer; it was about shedding light on the silent struggles of the caregivers." The emotional resonance on set, where crew members shared personal connections to cancer, made it unforgettable. "This campaign didn’t just bring me professional recognition... it gave me something deeper. It reminded me why I tell stories in the first place: to touch lives, to start conversations that matter."

For Pasricha, validation is an ongoing experience. "Every single day feels like that — someone choosing to call you for a pitch after sifting through hundreds of showreels. Winning a bid. The entire crew giving their all to bring the vision to life. It’s incredibly validating. In fact, just being paid to create is validation enough."

Wisdom for the next wave

What advice do these experienced directors offer to young women embarking on this path? Joseph highlights the crucial role of mentorship, an element she often missed. "There were so many moments in my journey where I wished I had someone older to turn to... Because I didn’t have that, I try to be that person now for the younger crew I work with." Her core message to emerging talent: "Hold on to their weirdness and not try and fit into an idea of who they need to be. It's those very things that will go on to shape your voice as a filmmaker." She also advises nurturing a life outside of work: "Keep doing things outside of work because this profession can be so all consuming - it's important to keep feeding into all parts of you." For the future, she hopes "women are spared from feeling like their voices aren't as important as the men in the room. I hope we start listening not just to the loudest voices, but to the most thoughtful ones."

This journey requires immense resilience and a forward-looking perspective. Jessica Sadana’s advice to young women directors encapsulates this spirit: "'Fearlessness is a muscle', exercise it!" It’s this cultivated fearlessness that allows women to push boundaries and challenge entrenched norms.

Pasricha shares a delightfully practical analogy taught by her nephew-in-law: "When you ask for a hundred toys, you get 10... If you ask for two, you get one. When you ask for one, you might get none. Don’t compromise. Don’t hold back. Let the world see what’s inside that beautiful mind of yours. Don’t worry about the budget. Let the world know what you’re imagining, and let it be their task to make it come to life." Her fervent hope for the future? "Gaslighting! Filmmaker or not, can we please just stop gaslighting women— not someday, not later, but right now!"

Shaikh’s counsel is rooted in artistic integrity: "Be honest to you work... give your work and creativity and build your own style and language the utmost importance... don’t get caught up in the tabloids and the gossip of the industry :) make a bubble around you to only and purely give focus to your art and craft and build that confidence to be the speaker to have your one true voice :) tags the only one thing that shall set you ahead in life."

Looking ahead, the hopes for the next generation are clear. "I hope the future generation of directors who identify as female, are spared the burden of behavioral and performance perfection," Sadana expresses. "May we be allowed to stumble, learn, and innovate without the burden of double standards." This sentiment resonates deeply with the broader goal of creating an industry where growth and creativity are not hampered by inequitable expectations.

The consensus is that the industry is indeed evolving, albeit slowly. "The old, unspoken biases about what kind of stories women could or couldn't tell are slowly breaking down," says Gambhir. Akanksha Seda feels "the needle’s pointing in the right direction. A woman no longer needs to prove her ability by being more male. She is instead rewarded for being authentic with her own voice."

These directors are not just participants in the advertising industry; they are active architects of its future. Their individual journeys, marked by resilience, unique creative signatures, and a commitment to authentic storytelling, contribute to a broader, more inclusive, and ultimately more compelling narrative for Indian advertising.