Synopsis
When Malhar, a rickshaw driver, accidentally discovers Argentine Tango, he finds himself torn between his conservative roots and a group of elite urban dancers. Along the way he uncovers profound connection, awakening something beyond his mundane existence.
Check out the trailer.
At the festival circuit
Upcoming Screenings
Past Screenings
1,100+
Global Viewers
15+
Screenings
8+
Countries
How it all began
by Saya Date, Director
I discovered tango during the pandemic — a time when the world was increasingly turning to digital forms of connection. I, however, had the privilege of hugging, dancing, and sharing physical space with other human beings. It felt intimate, grounding, even rebellious. One day, after a tango milonga, my teacher and now dear friend Manish and I were reflecting on how rare and exclusive that kind of connection had become. He posed a question that stayed with me: What would happen if a rickshaw driver walked into our tango scene? How would he react to the intimacy of the dance — and how would we respond to him?
That thought experiment planted the seed for Tango Malhar — a twist on the Cinderella story, where a girl’s forgotten heels lead a rickshaw driver to discover tango.
At first, we imagined it as a short film. None of us came from formal film backgrounds, and we weren’t sure how to begin. I reached out to Omkar Athawale (DoP) and Sumedh Tarde (Executive Producer and First AD), both of whom had worked with me on a documentary about my grandfather. After hearing the story, they instantly connected with it and came on board.
For casting, we debated whether to choose trained actors or tango dancers from our community. We opted for actors, believing we could always “cheat” the dance shots. I had previously worked with Nitesh (who plays Malhar) in a play and knew he’d be perfect for the role. He brought along his friends — Akshay (Santosh), Sandesh (Sandeep), and Pankaj (Mahesh) — and their real-life chemistry shone on screen. Kriti (Rani) responded to a casting call we posted online. From the first moment, she was Rani — spirited, grounded, and as it turns out, a gifted dancer. Seema, who plays Malhar’s mother, came recommended by a friend. Though it was a challenge to work around her demanding schedule, she brought exactly the gravitas and grace the role needed.
We sourced furniture from Juna Bazaar, leased appliances, and borrowed everyday items from our families — even a hospital cot from next-door. Costumes were designed by Antoinette, a friend from the tango world and a fashion design student. I asked her on a whim — and her eye for detail helped shape the characters visually. Rani’s wardrobe, in particular, became a defining layer of her personality.
Tushar Kangarkar, our sound designer, was a true blessing. He was introduced to us by Ronak Runwal at Gray Spark Audio and brought professional training from FTII that elevated our entire sound process. We hadn’t realized until then just how much of a film’s emotional tone lives in its soundscape.
We shot the film in just 18 days, in the sweltering Pune summer — each day feeling like a small miracle. Our tango community turned out in full force (especially when bribed with wine) for the milonga scenes, and the residents of Bhavani Vasti volunteered to bring the climactic performance to life.
Post-production took over eight months. Kshama Padalkar, our editor, helped shape the film through countless iterations. The saying goes, “You make a film twice — once when you shoot it, and again in the edit.” We probably made it ten times over. Aman Bhatia, Tushar’s roommate, came on board for color correction. His work brought every frame to life — turning mistakes into magic and images into paintings.
The music — arguably the most joyful and most demanding part of the process — was entirely original. Udayan, a tango dancer and Indian classical musician, was the first to join after hearing the pitch. Shardul, a friend of Sumedh’s and a violinist with Easy Wanderlings, brought an incredible blend of emotional and technical range. The score weaved together tango, Indian classical music, hip-hop, and alternative music — a truly hybrid soundscape. We also worked hard to stay true to Argentine tango: tracing music rights was nearly impossible, but thanks to the generosity of Tango Bardo and our friend Pablo Montenelli, we were able to include authentic tango music in the film.
Looking back, Tango Malhar was a journey of learning by doing — built on favors, borrowed props, late nights, and relentless belief. Made on a shoestring budget, it far exceeded our expectations, not just in its final form, but in how deeply it resonated with audiences across the world. I think it’s because everyone involved brought their emotional truth to the project — and that truth, in the end, held its ground.
What people have to say
"It took me back 30 years to the very reasons I fell in love with tango. It captures the essence of the dance in an incredibly intelligent way."
Maria Filali
Paris-based Tango artist, educator, and choreographer
"This film isn’t just about tango. It’s about aspirations and the yearning to achieve more from life. It should be shown to students everywhere!"
Marianna Koutandou
European Tango Champion
"The film touches a chord, it makes you laugh and makes you shed a tear and also absolutely entertaining! The background music which is a combination of the Tango music and Raag Malhaar is not only tap beating but melancholic, intense and stays with you long after the movie is finished."
Deepa Nath Surat
Hyderabad-based artist and creator of the Collective Conscience Art series