87 INTERVIEW womanthismonth.com | FEBRUARY 2026 Ms. Sharma’s entry into the film industry was driven by persistence. She began her career in Mumbai, working across commercials, television, short films and feature productions, using those early years to understand filmmaking at its most practical level. “I was learning the craft from the ground up,” she recounts. “I wanted to understand how sets really function, how departments interact and how decisions ripple across the entire production.” Those early years were critical, particularly in an industry where credibility is measured by consistency, particularly for women navigating male-dominated roles behind the scenes. In such environments, authority is rarely assumed. It is built through preparation and delivery. For Ms. Sharma, learning how systems function was foundational to being taken seriously on set. Her first major feature break came with Badlapur, a project that marked a turning point in her career. Working closely with Varun Dhawan, Yami Gautam and Nawazuddin Siddiqui exposed her to the discipline required on large studio films. “That project opened the door to larger productions,” she reflects. “It also taught me what preparation really means when the scale increases.” From there, she moved on to films such as Happy New Year and other major Bollywood projects, collaborating with actors including Shah Rukh Khan, Deepika Padukone and Abhishek Bachchan. The scale was demanding, but it refined her working method. “When the pressure is high, clarity becomes essential,” Ms. Sharma says. “You have to know your decisions before you are asked to justify them.” Alongside feature films, she also worked on long-format and television projects for Bennett, Coleman & Co. Ltd. in Mumbai. The experience strengthened her understanding of broadcast workflows and delivery timelines. “It reinforced how closely creative decisions are tied to logistics,” she notes. “If an idea does not work within the structure, it will not survive.” After relocating to Bahrain, Ms. Sharma’s career expanded across the Middle East. She began working on commercials, short films and scripted series, contributing to projects for organisations such as STC, Batelco and EDB, as well as regional series including Misbah and Ramadan Sharif. Living and working in the Kingdom influenced her creative judgement in quieter ways. “Strong design in Bahrain is less about excess,” she explains. “It pushes you to be intentional, because every decision is visible.” When she first began working in Bahrain, the production ecosystem was still developing, particularly in relation to structured art direction and production design. Processes often had to be built in real time. “There was not always a template,” Ms. Sharma says. “You had to adapt quickly, while ensuring the work still held up.” Her regional experience also includes a Pakistani feature film shot in Bahrain, involving a month-long schedule with an international crew arriving from Pakistan, the United States and Europe. Coordinating across cultures reinforced the importance of communication, particularly for women working in technical roles. “Different crews come with different expectations,” she notes. “Your work has to establish trust before you speak.” One of her most significant milestones came with Samosa Chapati, where she served as production designer. The film became a commercial success and is recognised as the first large-scale Bahraini–Bollywood collaboration, shot across Bahrain, Dubai and India. “That project required me to be deeply involved,” Ms. Sharma explains. “It was not just about design. It was about aligning creative teams across countries.” More recently, she worked as art director on the Netflix Indian series Taskaree: The Smuggler’s Web, starring Emraan Hashmi, with key scenes filmed in Bahrain. The role demanded disciplined preparation and restraint. “The environments had to feel authentic without drawing attention to themselves,” she says.“Everything had to serve the story.” As Bahrain continues to appear on international screens, Ms. Sharma sees the opportunity as structural rather than symbolic. “Accessibility matters,” she observes. “Being able to move quickly between locations and decision-makers makes collaboration smoother.” She also points to the growing depth of local crews. “The talent is already here. What changes outcomes is exposure and trust.” For Ms. Sharma, long-term sustainability in the industry depends on understanding the mechanics behind filmmaking. “It is a system,” she says. “Once you understand how it works, confidence follows.” That belief led her to create a podcast aimed at demystifying the filmmaking process and sharing practical knowledge. Looking ahead to an upcoming Hollywood production filming in Abu Dhabi, Ms. Sharma sees preparation as the defining phase of any large-scale project. Her strength, she believes, lies in moving comfortably between working cultures shaped by Bollywood, regional cinema and international production environments. “When you understand how different systems operate, collaboration becomes easier,” she explains. For young women in Bahrain interested in working behind the scenes in film, Ms. Sharma’s advice is direct. “Credibility comes from consistency and preparation,” she says. “Film sets are demanding, but they are also classrooms.” She actively encourages women interested in art direction and production design to seek on-set experience and mentorship. “If someone is willing to learn and commit to the work, I am always ready to help.”
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