IFFK 2025: Tannishtha Chatterjee on ‘Full Plate’, Her Cancer Journey and the Power of Storytelling

Thiruvananthapuram: Actor-director Tannishtha Chatterjee attended the International Film Festival of Kerala (IFFK) 2025 with her second feature film Full Plate, a gentle yet powerful story of a homemaker’s journey towards self-worth. While interacting at the festival, Chatterjee spoke candidly about her film, her ongoing battle with stage 4 cancer, and the deeper philosophy that shapes her craft.

During the conversation, it was evident that she was in physical discomfort, often pressing her left shoulder. “There has been nerve damage due to radiation. It may not heal completely, but it will improve. Right now, I am in a lot of pain and depend on painkillers,” she said.

Battling Cancer While Creating Cinema

In August this year, Tannishtha publicly shared that she has been fighting stage 4 oligo metastatic cancer for the past eight months. She was diagnosed during the post-production phase of Full Plate.

With a career spanning films such as Brick Lane, Parched, Angry Indian Goddesses, Shadows of Time, and Doctor Rakhmabai, Chatterjee said the diagnosis arrived at a time when she was deeply invested in storytelling.

Despite the emotional and physical toll, Full Plate continued its festival journey, premiering at the Busan International Film Festival before travelling to multiple international festivals.

‘Full Plate’: A Story Rooted in Real Life

Full Plate centres on Amreen, a Muslim homemaker played by Kirti Kulhari, who steps out to work as a home cook when her husband is temporarily unable to earn. The narrative explores her experiences navigating employment challenges, identity, faith, and domestic violence.

Tannishtha revealed that the film was inspired by her own house help.
“She refused to remove her hijab even when she struggled to find work. She was hired by a vegan couple and had no idea how to cook what she jokingly called ‘English vegetables’. Her observations were so sharp and honest that I immediately started writing,” she said.

The director spent time understanding the woman’s family life, ambitions, and emotional struggles, which later shaped the film’s characters.

Faith, Feminism and Choice

Chatterjee said she was conscious not to dilute the narrative while handling sensitive themes such as religion and gender.
“What a woman wears has nothing to do with her freedom. Liberation is about choice. Riding a bike, wearing Western clothes or wearing a hijab — all are valid if they come from personal choice,” she said.

She described Full Plate as a celebration of quiet resilience.
“Amreen doesn’t rebel loudly. She simply decides she will no longer tolerate violence. That decision itself is powerful.”

Sisterhood and Support

Speaking emotionally, Chatterjee credited her strength to the women around her. She mentioned friends and colleagues such as Shabana Azmi, Vidya Balan, Konkona Sen Sharma, Dia Mirza, Richa Chadha, and others as her biggest emotional support system.

“Sisterhood is different. I don’t want to lose that,” she said.

Choosing Joy Amid Pain

A single mother caring for her elderly mother and young daughter, Chatterjee spoke openly about the realities of illness, uncertainty, and survival in the arts.
“I am fighting something terminal. Everything becomes a chore. But I choose humour and joy. When my mother feels low, I tell her — this is also an experience. Life is richer because of it.”

She is currently working on a musical comedy titled ‘Breast of Luck’, co-written with actor Sharib Hashmi, which explores cancer, healing, love, and the female body with humour and honesty.

Beyond Labels of ‘Parallel Cinema’

Reflecting on her career, Chatterjee acknowledged being boxed into certain roles.
“I studied at NSD, and I have this skin tone. So I get cast in a particular kind of cinema. But as a creator, I think differently. Full Plate surprised many people — and that excites me.”

A Bond with IFFK and Malayalam Cinema

Having attended IFFK multiple times, Chatterjee praised the festival’s audience and Malayalam cinema.
“Malayalam films are flying high. I loved The Great Indian Kitchen. The audience here is deeply engaged and respectful of cinema.”

Key Takeaway

At IFFK 2025, Tannishtha Chatterjee’s presence was not just about promoting a film. It was about resilience, empathy, and the belief that storytelling — even in pain — can be healing.

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