Finding Fanny, directed by Homi Adajania with production design by Manisha Khandelwal, transcends the traditional road film genre, weaving a rich narrative infused with the vibrant essence of Goan culture and architecture. The architectural landscape of the film features distinctive Indo-Portuguese homes that incorporate vernacular materials like laterite stone, red Mangalorean tiles, and sturdy wooden beams. These elements provide structural integrity and reflect the region’s artisanal craftsmanship, serving practical purposes such as insulation against the tropical climate. The film’s vibrant colour palette—filled with turmeric yellow, cobalt blue, and ferrous oxide red—evokes warmth and cheerfulness, enhancing the whimsical nature of its story. The production design team meticulously selected filming locations in picturesque villages like Saligao, Assagao, and Aldona, each chosen for their authentic representation of Goan life and architecture. Interiors are adorned with vintage furniture and decor that echo the colonial past.
Dear Zindagi, 2016
Dear Zindagi
Dear Zindagi, directed by Gauri Shinde with production design by Rupin Suchak, explores self-discovery and emotional healing against the stunning backdrop of Goa. The architectural elements in the movie are deeply intertwined with Goa’s cultural heritage. Kaira’s apartment embodies a bohemian spirit, filled with an eclectic mix of furniture and decor that symbolises her artistic aspirations. The airy architecture of her living space reflects her longing for freedom and creativity. Parra Road, lined with tall palm trees, or Benaulim Beach offers a serene setting for moments of introspection. Even the grand three-bungalow enclave in Salvador do Mundo showcases traditional Goan architecture, with its vibrant colours and spacious interiors reflecting warmth and familial connections. Morjim Beach, with its uncommercialised charm, provides an intimate backdrop.
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