Every place, from a small Indian town to a European city, has a unique voice: Filmmaker Ashwiny Iyer Tiwari

Some films are incomplete without places and locations that not only lend them character but are significant to the story itself

Imagine Dil Chahta Hai without carefree landscapes of Goa, or Zindagi Na Milegi Dobara without the adventurous spirit of Spain, or Bareilly Ki Barfi without the homely charm of Bareilly.

All these films and more are incomplete without places that not only lend them character but are significant to the story itself. Filmmaker Ashwiny Iyer Tiwari recognises this, believing that every place has many stories to tell.  

Speaking at the India International Film Tourism Conclave (IIFTC), she mentioned that every place has a soul—a fragrance, a rhythm, a story waiting to be told.

Whether it’s the bustling streets of Agra, the vibrant alleys of Bareilly or the serene coastline of Konkan, Tiwari immerses herself in the cultural essence of her chosen locations, allowing them to shape her narratives.

“Locations aren’t just backdrops; they’re characters in my stories,” she says. Her films, like Bareilly Ki Barfi, breathe life into small-town India, capturing its quirks and idiosyncrasies with authenticity.

“Once, during a shoot, I sat reversed on a scooter while holding the camera just to capture the rawness of a busy marketplace,” she recalls with a laugh.

Her passion for rooting her stories in their locales extends beyond India’s borders. Filming in Serbia for an international project was a transformative experience for her. “Serbia has a controlled, almost poetic quality to its streets. Shooting there taught me the beauty of working within constraints while still bringing my vision to life,” Ashwiny shares.

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However, working abroad comes with its challenges. “Filmmaking in India often has a certain spontaneity—we can adapt and innovate on the fly. Abroad, you work with rigid schedules, permits and a precision-driven crew. It pushes you to plan meticulously, but it also opens your eyes to a whole new way of storytelling,” she explains.

The contrast between the fluid dynamics of Indian sets and the structured approach abroad has shaped Ashwiny’s methodology. “In Serbia, every second of shoot time is accounted for, which can be challenging but also rewarding. Back in India, the flexibility allows for a more organic process, but that chaos has its charm,” she adds.

Despite these differences, Ashwiny finds a common thread in how locations inspire her storytelling. “Every place—a small Indian town or a European city—has a unique voice. It’s my job to listen and translate that voice into a story,” she concludes.

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