Film history will be rewritten when Martin Scorsese serves as executive producer in the film "Dharma Productions" by Bollywood, which supports caste and religious discrimination in rural India.

"Home," Neeraj Ghaywan's long-awaited sophomore feature, produced by Johar with Somen Mishra, Adar Poonawalla, Apoorva Mehta and co-produced by Mélita Toscanduplantier, not only a certain range of Cannes, but not only a few stories to waste.

There is little creativity between Bollywood’s most effective producers (independent filmmakers with uncompromising social horizons and independent filmmakers who are the most respected directors of life in the film).

Ghaywan made his debut in 2015's "Masaan", winning a global premiere in Cannes's Certain Perspective, both winning both the Fipresci Award and a promising future award. The path to winning the film royals is through co-producer Du Plantier, who produced "Masaan" and has a long-term relationship with Scorsese.

"Martin has seen 'Masaan' and is very interested in Neeraj's next step," Johar told type. "It's just the fact that I heard his notes - there's a movie I deserve to praise on Martin Scorsese - I'm not sure if I can recover from this in vitro feeling."

In the “Home”, desperate to get rid of the weight of marginalized identities, two childhood friends from North Indian villages, Shoaib Ali (Ishaan Khatter) and Chandan Kumar (Vishal Jethwa) – pushing with them to pile up in their world. Confident that the work of police officers will make them long-standing denials, their urgency and hope to chase. Chandan meets Sudha Bharti (Janhvi Kapoor), who urges him to get an education. Meanwhile, Shoaib's financial burden struggled with his father's illness. Under the fraternity, they face the disillusionment of the system that failed them.

Scorsese's creativity began. “He started from the scripting phase,” Garwan revealed. "He gave a lot of notes, not only in the script, but also in the editing phase. He saw three cuts. It was crazy, he said your character name and spoke for such a long time."

For Johar's Dharma Productions, the empire of his empire, representing a continuation of unrecognized aspects of his company's work with the star's blockbuster "Homebound" - which include festival favorites and highly acclaimed titles, pushing the boundaries.

"I don't know why we're stuffed," Johal said in frustration. "I say that because from the fact that part of the anthology actually made - Neeraj himself in (Netflix's) Ajeeb Daastaans, to the movies in movies like "Kapoor & Sons" we've been trying yell as a production house, and for us it was a great profile not only to swim in the mainstream but also to come to the beautiful film coast."

Regarding the reasons for making him especially "at home", Johor's answer is very simple: "I can only say two things. One is Neeraj. The other is Ghaywan," he said. “I thought, he always asked me to say hello.”

The next generation of talents for this movie star are Ishaan Khatter (Netflix’s “Perfect Couple”), Janhvi Kapoor (“Devara Part 1”) – from the film family, and Vishal Jethwa (“Tiger 3”). For films exploring marginalization and social inequality, actor "Star Kids" seems counterintuitive, but both filmmakers insist that the actors' commitments go beyond their privileged background.

“I really feel like working with people who are kind,” Ghaywan stressed. “People who believe in me are inspired by the script.”

Looking for money Dan is particularly extensive. “We cast for a long time,” Ghaywan revealed. “We tried to cast a lot of people for Vishal’s role. But I navigated to Vishal in some way because he had a sense of innocence besides being a good actor.

Johar, a connoisseur of star quality, said of Khatter: “He’s a chameleon. You can put him in the “royal” of (Netflix), he’ll put that sexy boy like a thirst trap and a national fan of everyone, and now he’s put him in the ‘Home-Bonderboundhe’ and he’ll fall into the ‘'' and his expression.

For Kapoor, the daughter of late Indian film icon Sridevi and producer Boney Kapoor, the film represents a shift in screen and shutdown. Ghaywan specifically protects actors facing public scrutiny.

"She has been publicly and seriously damaged, but when people see the film and its real potential, they wake up and see that she is really made of something else," he insists. The director describes how Kapoor "started to question his privilege" during preparation. "I gave her (Bhimrao Ramji) Ambedkar's 'an caste' reading, and she entered a rabbit hole to try to understand the obvious differences in our lives together." Ambedkar, an architect of the Indian Constitution and a fierce crusador who opposed caste discrimination, redefined the legal and social framework of the state.

Johar added that for Kapoor, the experience was more therapeutic than the professional: “She felt she was already undergoing Neeraj’s 10 days of treatment and so she felt she was recovered.

Ghaywan's preparations were immersive and transformative. "I took the boys for a long immersive exercise. We live in the village," he explained. "No matter what we do, we can't copy someone's life experience. We can only sympathize. We can only do our best."

A moment in the process crystallizes the purpose of the movie: "Sitting in a very poor house in a village, we are eating, I just feel very mediocre. I think, what does it mean?

This authenticity is why Johar gave Ghaywan full creative control: "The one thing I told him you shouldn't listen is me. Actually, you should do whatever heart desires are because you know the world of this movie. It comes from a very solid position inside you and follows your intestines. I'm just around you. I'm just there, I'm like a silent supporter, but on the lineup, it's the lineup."

The film addresses sensitive topics of Indian caste and religion, and despite solving the problem of division, both reject the attitude of their film. “It’s a friendship story by nature,” Johar said. “There's a humanitarian perspective to it. There is no villain in this film. Most of us know that we live in the gray, and rarely are we addressing the gray. What Neeraj does so beautifully is that all characters operate from the gray. They combat the grayness within their ecosystem and within their DNA, and then they emerge from there with a slight light at the end of the tunnel.”

Ghaywan himself, who comes from a marginalized community, added: “My intention for this movie is not a villain, but a person who speaks with empathy. I want to hold their hands and have them sit next to me, sit next to me and say, “Hey, look at this.”

For Johar, the official selection of films at the Cannes Film Festival represents the climax. “To me, this is the holy grail of the World Cinema, which is actually the temple of the World Cinema,” he said with passion. "I'm in a movie, which is an anthology with 'bombay Talkies' (2013) ... with Anurag Kashyap, Dibakar Banerjee and Zoya Akhtar." The film was a special screening at the Cannes Film Festival in honor of the 100th year of Indian film. Johal added: "Now, many years later, a formal choice of film, beautiful golden leaves settled on our poster, Mr. Scorsese is the executive producer...I think it's a movie dream."

Back in Cannes ten years later, Ghaywan reflects on his journey from Cinephile to the famous filmmaker: “Every year in the early days of Cinephilia, you list all the Cannes movies. Anurag (kashyap) and the movies I used to compete for whom was who saw it.

He paused, the gravity of his return was obvious. "I didn't expect there was a movie in the game in my wildest dreams. In a sense, it was like my 'home' to Cannes."

Paradise City sales are dealing with international sales “residence”, with WME independent representing North American rights.