Gujarati weddings have garba nights. Dancing in circles. Dandiya sticks. Organized chaos set to rhythm. But this wasn't just dancing. This was three hundred people from two families who'd known each other for decades, celebrating the fact that two people finally figured out what everyone else had suspected for years. We shot this wide. Let the movement create the composition. Didn't try to beautify it. Just documented the joy. The chapter in the film is called "The Rasleela." Not because it's religious. But because it felt like what those Krishna-Radha dances must have felt like—community, rhythm, devotion. We must talk about the Mandvi Beach Huge shotout to Nikhil, Anamika's Brother , who planned this. We reached their 5am. Empty beach. Fishing boats returning with the night's catch. They walked. Held hands. Stopped to watch the boats. Sat in the sand. We shot from distance. Let them be small against the ocean. A little decoration. The film has this section in the mid, just take the breath ways. Before any faces. Before any names. Just two people on an endless beach at dawn. It tells you everything about how they are together: comfortable in silence, unhurried, content with simply existing beside each other.