Exclusive: Salakaar director Faruk Kabir on crafting a spy thriller: 'This film is beyond nudity, abuse or vulgarity, it's a pure thriller'

“Khuda Haafiz came during this time as well. I’m excited that this series is coming on a similar date and month,” he said, recalling the success of the film. But excitement aside, Kabir noted the weight of the story's subject matter. “The pressure is that it is a story about responsibility. Some chapters, from a geopolitical point of view, had to be told very carefully.”

A Clean Narrative Amidst Grit

Kabir emphasizes that Salakaar deliberately steers clear of sensationalism.
“Sometimes, in content, people go over the top with violence, abuse, or nudity. Salakaar is beyond all those things,” he said, adding, “This story needed to be entertaining and responsible at the same time.”

The series is set across two timelines — 1978 and 2025 — and showcases how espionage has evolved.

“One story is set in 1978 and the other in 2025. We didn't shoot on sets but real locations, which made showing the 1978 period authentically even more challenging,” he explained. The contrast between both eras is pivotal to the narrative. “In 1978, a spy depended solely on instinct, information, and human intelligence. There was no technological support. It was tougher to be a spy then.”
On Casting Mouni Roy: “She is more than her image.”

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Talking about his female lead, Kabir was confident in his choice to cast Mouni Roy, often associated with glamour.
“It was not difficult at all. I actually enjoy casting against type,” he revealed. “When I spoke to Mouni, I realized she is deeply spiritual and very polite. She wasn’t cast for her glamour. She has the depth the character needed.”

He also praised her dedication.
“She’s been working for many years and understands that the content should be good. If there’s a good conversation between the director and the actor, the result is better work on set.”

Designing Action with Emotion
Kabir’s love for action is evident — not just in spectacle but in substance.
“In Khuda Haafiz 1 and 2, and now in Salakaar, I design a lot of the action sequences myself. I even shoot them,” he said. “I believe there should be an emotional reason behind every action. It’s not just about looking cool — it has to be meaningful.”
“Audiences know honesty when they see it.”
In an industry where sensationalism often overshadows storytelling, Kabir maintains a clear stance.

“I don’t like vulgarity or unnecessary nudity. That’s not how I was brought up, and that’s not my style of filmmaking,” he asserted.
“If it’s part of the story or the character, that’s different. But using these elements just to sell — audiences are too smart for that now. They know when a scene is dishonest.”
Kabir believes in trusting the audience’s intelligence and delivering cinema that respects their sensibilities.

“There’s no vulgarity in Khuda Haafiz 1 or 2, and there isn’t in Salakaar either.”