Indian-born Sanjay Patel is based in Canada. He has directed two feature films, one short and a television series. His debut Union Leader (2017) received critical acclaim, and snatched deals with Netflix and Amazon Prime. His sophomore feature The Birds Who Fear Death premiered earlier this year at the Calgary Film Festival. Victoria Luxford describes it as “a thoughtful drama”, and “a rumination on modern indigenous people and the push-pull between heritage and modern life”. It features Oscar-nominee Graham Greene and Golden Globe-nominee Adam Beach.

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Victoria Luxford – What first brought you to the film?

Sanjay Patel – Well, I was born and raised in India, and if you talk to anyone from there, two things are practically universal when I was growing up: playing cricket and watching Bollywood movies. As a kid, I dreamed of doing both – cricket was my first love, and filmmaking came a close second.

But neither of those dreams really panned out while I was still in India. Life took its own course, and in 2000, I moved to Canada. Once I got settled here around 2008, I found myself reflecting on those childhood dreams. At that point, I realizsed that playing cricket at 40 wasn’t exactly an option anymore (though I still love the game). So, I thought: “Why not give filmmaking a try?” In 2014, I finally made my first short film. That’s how I got into movies – by reconnecting with a passion I thought I’d left behind. It’s been a wild ride ever since, but I wouldn’t have it any other way!

VL – There are several notable actors in the cast, with Golden Globe and Oscar nominees among the ensemble. Is it a tough task to assemble them given the financial constraints of independent filmmaking?

SP – Honestly, this whole journey into film has been surreal. It’s my first Hollywood film, and I never imagined I’d get the chance to work with actors like Graham Greene and Adam Beach. I mean, these are people I’ve admired for years.

VL – When it came to casting, I started with the lead role. Adam Beach was my top pick, and I figured, “Why not try?” So, I sent the script to his manager. To my surprise, Adam not only loved it but also came on board as an executive producer. That kind of endorsement gave us a huge boost right from the start.

From there, things really started falling into place. I approached other indigenous actors, and because they resonated with the story, many signed on without much hesitation. Of course, independent filmmaking always has its challenges – especially financially – but I found that passion and a good script can open a lot of doors. It was easier than I thought, thanks to their belief in the project.

VL – There’s a very believable chemistry between Adam Beach and Simon Baker in the central roles. At what point did you realise you had the right duo?

SP – You know, Simon Baker actually came on board thanks to Adam Beach’s suggestion. Adam told me early on, “If you want real brotherly love to shine through these characters, Simon is your guy.” They’re practically like brothers in real life, so we knew right away we had half the battle won just by casting them together. From there, it was just about guiding their performances, which wasn’t too hard given their experience. Their characters are polar opposites in the film, so we spent a bit of time with Simon discussing how to play the “nicer” brother. They both really leaned into those dynamics, and that’s what made their chemistry so believable on screen. Honestly, it felt like the brotherhood was already built-in—it just needed to be captured.

VL – You worked in the gas and oil industry for 20 years, witnessing the effects it can have on our ecosystem. Is there something of your own journey in Adam and Ryan, given that part of their story is discovering the impact with their own eyes?

SP – Absolutely. After 20 years in the oil and gas industry, I saw both the benefits and the consequences firsthand. Adam and Ryan’s story resonates with me because it captures that pivotal moment of realizing that progress often comes at a cost, impacting real people and communities. This story draws inspiration from the increased cancer cases reported in Fort Chipewyan, Alberta, linked to the surrounding industrial development. The investigation is still ongoing, and there’s no clear timeline for its completion.

VL – There are some incredible shots of the Canadian landscape in the film, How difficult were they to achieve?

SP – Yeah, Alberta is incredibly scenic and has so much to offer! In my case, I did a lot of background work myself to pick the right locations, and then it was all about sitting down with my cinematographer, Charles Hamilton, to break down the scenes and shots. We focused on getting the most out of each location creatively. So, it wasn’t difficult – just a lot of fun!

VL – The film discusses a lot of topics – cultural identity, environmental issues, the treatment of indigenous communities by big business. How do you balance all of those factors as a storyteller?

SP – Balancing these themes means staying true to the story and the people at its heart. It’s a delicate process that starts with listening, learning, and telling the truth—and for this project, I made sure to involve indigenous voices from the very beginning. For me, it all starts with writing the script and building the characters. The key is to ground the narrative in their personal journeys. When you focus on their emotions, relationships, and struggles, it creates a human connection with the audience. From there, the larger themes—like the clash between tradition and modernity, greed, or disconnection from nature—can emerge naturally, without feeling forced.

VL – The film offers an intriguing conclusion, surmising that there is a degree of hypocrisy in all of us, but that shouldn’t prevent us from fighting for change. How did you decide on that message?

SP – This really came from my own experience, and the message evolved naturally as the story developed. As I dug deeper into the characters and their struggles, it became clear that none of us are perfect – we all have contradictions. But that doesn’t mean we should stop trying to do better. Change isn’t about being flawless; it’s about making an honest effort. I wanted the film to reflect that idea—that it’s okay to acknowledge our flaws while still working toward progress. In fact, it’s by facing those contradictions head-on that real change becomes possible.

VL – There’s also a shocking twist in the third act, was that always in the script?

SP – Yes, that twist was always part of the script. It felt essential to the story and the character arcs we’d developed. As we built up to that moment, I wanted to create a sense of surprise while also deepening the themes we’d been exploring. It’s one of those moments that not only shifts the narrative but also challenges the audience to reconsider everything they thought they knew about the characters and their journeys. I think it really underscores the film’s message about complexity and the unexpected nature of change.

VL – Have indigenous people not involved with the film seen it, and if so what did they think?

SP – Yes, some indigenous people who weren’t involved in the film have seen it, and their reactions have been really encouraging. Many expressed appreciation for how the story portrays the complexities of their experiences and the issues they face. They felt that the film authentically captures their voices and perspectives, which was a key goal for us. Some viewers also shared that it sparked important conversations within their communities about the themes presented. Overall, the feedback has reinforced the importance of telling these stories with respect and authenticity.?

VL – How will indigenous communities benefit from your movie?

SP – Indigenous communities will benefit from the film in several ways. First, we hired a number of indigenous cast and crew members, ensuring that their perspectives and experiences were authentically represented throughout the project. This not only brings a richer depth to the storytelling but also provides opportunities for those involved, helping to support indigenous talent in the film industry.

VL – Additionally, the film aims to spark conversations around important issues faced by indigenous communities, such as cultural identity, environmental concerns, and the impact of industrial development. By sharing these stories, we hope to raise awareness and promote understanding among wider audiences, ultimately fostering a greater respect for indigenous experiences and perspectives.

VL – Finally, do you have any projects coming up next?

SP – Yeah, I’m definitely working on a couple of projects, but they’re still in the very early stages, so I can’t share too much just yet. But I can say that they’re happening for sure! Stay tuned!

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Sanjay Patel is pictured at the top of this interviews. the other image is a still from The Birds Who Fear Death.