Radhika Apte says she was ‘prepared' for postpartum depression while having baby: ‘So difficult to look after a child'
Actor Radhika Apte, who welcomed her child in December last year with husband, musician Benedict Taylor, recently opened up about the emotional highs and lows that followed the birth of their baby. (Also Read: Radhika Apte brings daughter to India for the first time: 'Mum chose the best month for a Mumbai intro')
In a candid conversation with ANI, Radhika shared that she had mentally prepared herself for "postpartum." The actor also shared that she had spoken to her close ones beforehand, just in case she needed support.
"I was very prepared for postpartum, actually. And I had also made sure that my friends and family were aware that if I went into postpartum depression, they needed to support me. To my own surprise, I was just purely elated when I had a child. And fortunately, I didn't suffer from severe depression at any point," she said.
However, Radhika didn't shy away from sharing the tough parts, too and spoke about the emotional rollercoaster that comes with being a new parent.
"But a child, it's so difficult to look after a child 24/7. It's such a huge change in your life that there are many days and moments of feeling terribly low and lost, as well as feeling elated and in love with your child. There are moments when you have no idea what you think, and you feel emotionally quite tired and low," she added.
"Also, sleep deprivation doesn't help with that. So, it's a constant up and down, I think, this new journey. And it's very, very natural and normal to feel that way," the actor further said.
On the work front, Radhika's latest film Sister Midnight hit Indian theatres on 30 May. The film, a dark comedy filled with punk energy, was earlier screened at the Cannes Film Festival in 2023. Radhika is seen playing the role of Uma, a bold and rebellious woman who challenges societal norms, especially those around arranged marriage.
Speaking about the character, Radhika said Uma may seem wild, but is deeply relatable. "I mean, I don't think she's a very, very different character from Indian women. In fact, I think that I've seen a lot of Indian women with the same amount of... Basically, she's quite feral. And I've seen a lot of women like that," she shared.
Sister Midnight is Karan Kandhari's directorial debut.
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Like a taller heroine, no, no, then heroes will get a patla and they will stand, which means a six-inch stool or three-inch stool and they'll stand on that. So taller heroines generally have an issue over there. And in any scene if a heroine is dominating a lot, now this is a secret nobody wants to talk about, but in a scene where heroine is really dominating or her performance is better than the hero, then very often her performances will be trimmed or she may be speaking dialogues but the camera will stay on the close-up of the hero. This is a very, very common thing in commercial films. As far as I am concerned, I don't make those kind of films, I make very, very realistic films, so I don't see that problem. And in my film, all the heroines are very, very powerful, they don't depend on the men at all. In fact, they challenge men. If you look at Buddha in a Traffic Jam, same case. If you look at The Tashkent Files, the main lead actress was a heroine who challenged the entire system. In that, the role of Pallavi, though she is handicapped on a wheelchair but a very powerful role. If you see The Kashmir Files, again you will find on one side there is a woman who is a victim but on the other side there is a woman who is challenging the system and changing the system. Yes, that was a kind of a negative role. If you look at it from one perspective, from another perspective, it's a very, very powerful role. And same in the case of The Vaccine War. Vaccine War was about Indian women scientists and we celebrated them. Women scientists say, we can do it. And my next film, The Bengal Files, again has very, very, very strong women roles. In fact, I would call it a woman-centric film. So I don't face that problem and I deliberately do that because that's how I look at women.' Actress Sohaila Kapur sums it up with piercing clarity: "Simple answer. 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Men just have to show up. But times are changing — slowly. We need more scripts where love feels equal, age is real, and desire doesn't only belong to the 20-year-olds. ' She urges filmmakers to flip the script and embrace mature storytelling: 'Women definitely look better as they age because they take care of themselves. Compare a 50-year-old Indian woman to a 50-year-old Indian man — who's sexier? Men don't take care of themselves as much as women do.' Her candour challenges the twin biases of ageism and sexism head-on. Veteran perspective: Anant Mahadevan on skewed pairings Director Anant Mahadevan points out the long-standing double standard. 'The fixation on pairing has been a recurring issue for decades. An ageing male lead is no deterrent for filmmakers or audiences. We've seen 30-plus, even 40-plus, actors playing college students. But the lens isn't as kind to female leads — marriage alone can lead to their declassification, let alone aging. It's a myopic view of filmmaking.' He contrasts this with the West: 'In Hollywood, female leads age with grace and are entrusted with mature characters. Here, we seem to doubt the appeal of our female talent. It's just one of many clichéd ways we look at storytelling.' Breaking the mold: Rahul Bhat on chemistry and connection Actor Rahul Bhat rejects the notion that romance is the domain of the young. Asked if he'd be comfortable playing a romantic lead opposite an older or same-age actor, he responds, 'Absolutely. I think chemistry isn't defined by age — it's defined by connection, energy, and truthfulness in performance. We rarely see it because the industry has long fed into a one-sided fantasy: that men can age but women must remain frozen in time. That narrative is being challenged now, thankfully, but we have a long way to go.' He's clear on the need for equity in storytelling. 'Older actresses not only deserve to lead love stories — they need to. Love doesn't expire at 35. In fact, it deepens. Women who have lived, loved, lost, and evolved have far more textured stories to tell. Why should those stories be denied a romantic arc?' On portraying love across an age gap, he adds, 'It depends on how the story handles it. If the age gap is there to titillate or pander, it feels forced. But if it's honest and rooted in character, it can be incredibly moving. As actors, our job is to find that emotional truth — age should add layers, not limitations.' He also calls out the industry's long-standing bias: 'Scripts have long equated desirability with youth. But the good news is, that's changing. Actresses like Vidya Balan, Konkona Sen Sharma, Shefali Shah, Neena Gupta — they're leading love stories with incredible grace and depth. Audiences are responding. The industry just needs to catch up.' Sadia Khateeb : Acting transcends age Sadia Khateeb, who starred in The Diplomat, shares a grounded perspective: 'I mean, as long as actors are comfortable being paired opposite each other, it does not matter if the girl is older or vice versa. Acting is a job where one has to act; it has nothing to do with realism.' She emphasizes that casting choices should serve the story and the director's vision: 'If the director has a vision and the script demands such a pairing, then as actors, we have to fulfill that vision and make the story work.' However, Sadia also calls out the pressures women face: 'I hope seeing ageing of women as an expiry date changes over time; it's a deeply rooted stereotype that has been ongoing not just in the industry, but in society. Women, after they cross a certain age, have a lot of pressure. Age shaming women is somehow a conditioning that has happened over the years — a sort of patriarchy. I hope and pray this changes eventually. Ageing is beautiful; it means you are living. ' Time to grow up: Sandiip Sikcand 's blunt take Actor and creative director Sandiip Sikcand doesn't mince words. 'It's ridiculous to see men in their 60s dancing with heroines old enough to be their daughters. Even audiences recognize the disconnect — that's why these films live on hype and Instagram reels but flop at the box office.' He urges Bollywood to mature. 'The same old stories, senior actors refusing to age, and talented women not getting the right roles — this all needs to change fast. More than stars or projects, Bollywood now needs stories and actors.' Sikcand points to global examples of progress. 'In the West, women do their best work after 30. Even the South gives actors fabulous platforms — their finest work often comes when they act their age.' Power imbalances in casting: Rajesh Tailang weighs in Actor Rajesh Tailang highlights the deeper problem. 'Bollywood's romantic pairings aren't just about chemistry — they mirror the industry's power imbalance. The more powerful the male star, the less expectation there is for him to play age-appropriate roles.' He shares a personal example: 'Meanwhile, I'm cast as the father of actresses who are paired opposite heroes 3–4 years older than me.' Ego and culture: Karan Razdan's perspective Writer and actor Karan Razdan traces the issue to deep-seated beliefs. 'There's an old Indian saying — a man never gets old. And I think the industry takes that literally. Whether it's Mumbai, Chennai, or elsewhere, the hero's ego still needs validation through a younger heroine.' Signs of progress: Karan Singh Chhabra on shifting dynamics Actor Karan Singh Chhabra notes that change is visible, especially on streaming platforms. 'If you look at recent web series, Bhumi Pednekar — who is older than Ishaan Khatter — is romantically involved with him, and the story requires that.' He's hopeful about the direction things are heading. 'Young actress, older actor, older actress, younger actor, same-age pairings — everything's being explored now. Times are changing, and the audience is evolving.' Beyond Bollywood: Mozez Singh on societal bias Director Mozez Singh expands the lens. 'This entire concept is ageist and misogynistic — and it must change. Unfortunately, it's not just films. In real life too, an older woman with a younger man is still seen as odd. But the reverse is normal.' He reminds us that cinema is a mirror. 'The problem is bigger than Bollywood. Films reflect society — and that's where the real work must begin.' Conclusion: Time for a new love story The age-gap romance trope in Indian cinema isn't just a casting quirk. It's a reflection of deeper societal norms that favour male stardom and female youth. But voices across the industry — from actors to directors and writers — are now challenging the status quo. 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