#BazaarExclusive: Indira Baikerikar, an Indian athlete-turned-director, made a Cannes debut with her film, 'The Second Wind'

It’s that time of the year when the French Riveria turns into a high-octane spectacle of cinema and fashion as the biggest names from the world of cinema descend upon the Croisette. Often dubbed the global Colosseum of film, the festival continues to be the ultimate platform where cinematic brilliance meets sartorial spectacle. Only this year, the fashion will follow a new script—no voluminous silhouettes or sheer gowns, as the festival introduces a more refined dress code.

Over the past few editions, India's presence on cinema’s most glamorous stage has grown and continues to expand with bold storytelling. Notably, filmmaker Payal Kapadia, who won the Grand Prix for All We Imagine As Light, returns this year as part of the main competition jury. Among the most anticipated Indian entries at Cannes 2025 is Neeraj Ghaywan’s Homebound, premiering in the Un Certain Regard section—precisely a decade after Masaan introduced him to global audiences. 

But the most significant Indian showcase this year unfolds in the Cannes Classics section. Satyajit Ray’s timeless classic Aranyer Din Ratri (1969) (Days and Nights in the Forest) returns in stunning 4K led by Martin Scorsese’s The Film Foundation and in partnership with the Film Heritage Foundation. The film will be presented by Wes Anderson, who has been a long-time admirer of Ray’s work.

Among the fresh voices making their mark at Cannes, Indira Baikerikar’s debut feature The Second Wind, which will be screened at the festival, is generating buzz. Written, directed, and produced under her banner Sweekaar Productions, the all-women cast and crew film carries a deeply personal yet universally resonant message: it’s never too late to find your second wind. It’s a simple story about four women who find a second chance in life through sports such as the story of Mayura Shivalkar, a cancer survivor and marathon runner, and Nandinee Khosla, a volunteer and actress who supports cancer patients and Indira’s own daughter, Mallika’s journey as a swimmer. The movie reflects how she discovered new passions and her belief in the power of second chances.  

In an exclusive conversation with Harper’s Bazaar India, Baikerikar lets us in on her favourite bits about this film, the inspiration, and the Cannes screening.

Harper'sBazaar: Congratulations on your debut film The Second Wind making it to Cannes Marché du Film, how do you feel about this milestone?

Indira Baikerikar: Honestly, it came as a complete surprise, and I’m truly grateful. I’m not entering this space with huge expectations—my focus has always been on the film and its message. I just hope it reaches audiences around the world, because it carries something deeply meaningful. I don’t come from a traditional film background, so for me, The Second Wind is more than just a film—it’s a healing process. There’s so much noise in what we watch these days—violence, over-the-top drama, or moralising lectures. This is a very simple film that gently says: we all deserve a second chance. We shouldn’t give up hope, no matter where we are in life. I’m going with an open mind—to learn, absorb, and be inspired. 

HB: What does this opportunity mean to you, and how are you preparing for the red carpet?

IB: For me, this opportunity is more about learning and observing than expecting anything specific. Of course, I’m excited—it’s incredible to be surrounded by so many powerful stories and artistes from across the world. Every film that makes it here has gone through a journey of hard work and vision. As someone who’s been through that process now, I can truly vouch for how much it takes to bring a film to life. At Cannes, I’m looking forward to watching as many films as I can. It’s about understanding what resonates globally and where I fit in as a filmmaker. I’m also looking forward to conversations with fellow filmmakers, producers, and storytellers.

HB: From being a runner to becoming a filmmaker—tell us about that transition. How did the journey unfold for you?

IB: I’m a big dreamer. Running has always been a cinematic experience for me. Every race I ran, I’d imagine it unfolding like a film. Even now, when I’m out on the road, I see stories everywhere. There’s movement, rhythm, emotion—and that instinctively became the lens through which I saw life. The shift to filmmaking felt natural because I wanted to capture that same feeling. Watching Satyajit Ray’s films made me wish I could have been a cinematographer. That thought stayed with me. I’ve even enrolled in a cinematography course—not to use a camera right away, but to understand lenses and light from the ground up. My daughter was my biggest inspiration for the film. She’s a beautiful swimmer. Watching her in motion made me want to capture that beauty and silence. She’s a national-level freestyler and has been training since she was about eight or ten. It wasn’t easy. She gave up a lot of her regular childhood to pursue it and I got inspired by her to become a runner. Eventually, both our paths merged into a deeper discipline—mine leading into storytelling.

HB: Can you tell us a little bit about your journey from Dibrugarh to Mumbai?

IB: I was born in Mumbai but raised in Dibrugarh, Assam. After studying science and music, I moved to Kolkata to pursue textiles at Jadavpur University, since fashion design wasn’t an option in Assam back then. Eventually, I came to Mumbai, where I ran my own garment business for over 12 years—showcased at Lakmé Fashion Week and exported to Australia, France, and Tokyo.

Later, as my daughter Mallika trained as a competitive swimmer and my husband and I juggled intense work lives, I chose to step back. I became a certified physical trainer and began working with athletes. Running followed, and slowly, storytelling through film became a natural extension. The Second Wind is part fiction, part lived experience.

HB: Can you let us in on your process of shooting and casting?

IB: We shot the film over 9 to ten days, mostly in Mumbai—at a boutique, a college, different homes, and a race event in Mazgaon by You Too Can Run. We also filmed a triathlon training session on the highway in Belgaum and the actual Bergman’s Triathlon in Kolhapur. As for the cast, I wanted real people, not actors. Since the film began as a documentary, authenticity was key. I chose individuals who lived those experiences—they may not be perfect performers, but they bring honesty to the screen.

Hb: How do you feel about the finished film, and what’s next after Cannes?

IB: I'm really proud of how the film turned out—it feels beautiful and fulfilling. In fact, I’m already thinking about a longer version or even a part two. As for what’s next, I’m waiting to see how things unfold post-Cannes. There are conversations happening, and I’ll decide after the festival. After Cannes, the film is heading to Melbourne in August, followed by Toronto in November, the LA Independent Women’s Festival, and Athens early next year.

HB: As a sportswoman, what do you hope audiences take away from the film?

IB: Through this film, I want people to reconnect with the joy that exercise and sport can bring to them; to remember how healing and energising movement can be. It’s not about competition or performance, it's about rediscovering what you love and falling in love with yourself again. I want people to realise how sports enables us to challenge things in life and how it makes us feel young. So, my movie at the end says, it's not about winning or losing. It's not about how fast or slow you are. It's about reinventing what you love. It's about falling in love with yourself.

HB: Who's your favourite sports person and your favourite movie that's ever made on sports

IB: I'm a huge fan of Usain Bolt! As for films, Bhaag Milkha Bhaag really moved me because it delves into the emotional past of the athlete. I also love Mary Kom—being from the Northeast myself, it made me feel proud to see that representation.

Lead image: Mallika Baikerikar, Indira Baikerikar, and Nandinee Khosla at the Cannes red carpet

All images: Sweekar Productions

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