From Indore to Tribeca: A Conversation with ‘Pinch’ Director Uttera Singh and Composer Raashi Kulkarni

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New York, NY — In an inspiring sit-down at the ITV GOLD Studios, I had the pleasure of speaking with two rising stars in global cinema—filmmaker and actor Uttera Singh and composer Raashi Kulkarni—about their new feature film Pinch, which makes its world premiere at the 2025 Tribeca Film Festival in the prestigious International Narrative Competition.

Uttera Singh, an adjunct professor at the USC School of Cinematic Arts, is making her feature directorial debut with Pinch, a dark comedy centered on a mother-daughter relationship shadowed by a moment of trauma. Raashi Kulkarni, an award-winning classical pianist and composer whose music spans from indie dramas to Disney titles, composed the original score. Their conversation with me revealed the deeply personal, collaborative, and culturally resonant journey behind this uniquely bold project.

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Nidhi Kathuria: Congratulations on Pinch premiering at Tribeca. Uttera, what does this film mean to you?

Uttera Singh: Thank you so much, Nidhi. It’s truly a full-circle moment. Pinch means a lot—personally and professionally. It’s a story rooted in something I heard as a child: my Nanu used to tell me about a mischievous cousin who pinched people in public. That strange image stuck with me, and I wrote it first as a short. Eventually, my producer encouraged me to expand it into a feature. It evolved into a dark comedy about a mother and daughter navigating an incident of assault. It’s deeply collaborative, made with the help of my hometown Indore community and my USC filmmaking circle.

NK: It’s fascinating how personal stories become cinema. You also star in the film?

US: Yes, I play the lead as well. And for the record—I pinch someone just once in the movie! [Laughs] But yes, it’s a key moment. The build-up is everything.

NK: Raashi, your work includes Wedding Season, A Nice Indian Boy, and World’s Best. How did scoring Pinch differ?

Raashi Kulkarni: This was special because of the hands-on collaboration with Uttara. She came to my studio and we just jammed. We didn’t use temp tracks—we explored sounds, rhythms, and vocal textures together. It was a deeply musical process. We were creating the sonic identity of Pinch from scratch. Uttera was involved every step of the way.

NK: Rashi, the film is set in Indore, but you’re based in Los Angeles and were born in Maryland. Did that cultural gap pose a challenge?

RK: Not really, because Indian music was always part of my life. I grew up with Bollywood, Indian classical—my parents are musical. That language of rhythm and melody is in me. I didn’t travel to India for the shoot, but I began scoring early, and Uttara even shot extra scenes based on the music I created. That kind of synergy is rare.

NK: Uttera, you’re an actor, filmmaker, and professor. How do those roles influence each other?

US: I love the parallel to Charlie Chaplin—wearing many hats feels natural to me. Teaching keeps me grounded. I come from a family of educators, and I learn more from teaching than I ever expected. Acting and directing feed each other too. I knew I could trust my cinematographer Adam—also my co-writer—to get the visuals right when I was in front of the camera. That trust is key in indie filmmaking.

NK: Tell us about the cast—Geeta Agrawal, Sunita Rajwar, Sapna Sand, and others.

US: They were phenomenal. Experienced, disciplined, and generous. Despite me acting and directing simultaneously, they never questioned the process. I owe them so much. Their professionalism and grace elevated every scene.

NK: What were the biggest production challenges?

US: Every day is a challenge on an indie set. But I follow something my father says: “Sachin Tendulkar only focuses on the next ball.” I live by that now. Just handle the moment in front of you—and somehow, the film gets made.

NK: Raashi, you’ve been an outspoken advocate for women composers. What’s your perspective on the industry now?

RK: There’s still a long way to go. Women composers are the most underrepresented demographic in film scoring. I serve on the board of the Alliance for Women Film Composers and as a governor for the LA Chapter of the Recording Academy to change that. My advice to aspiring composers is: keep sharpening your craft. Your work is yours—no one can take that away.

NK: And what do you hope audiences take away from Pinch?

US: I’ve said what I needed to say through the film. Now, it belongs to the audience. Whether it makes you laugh, cry, or think, if you feel anything, we’ve done our job.

NK: Raashi, you’ve also released acclaimed solo albums. How do those personal projects feed into your film work?

RK: My albums are my voice. Film scoring is about serving the director’s vision. But my albums allow me to express my own story. They keep me creatively alive and grounded.

As the interview wrapped, Rashi gestured to her 1980s keyboard—gifted by her father—still in use in her studio. “This is where the magic happens,” Uttara added with a smile.

Pinch premieres this week at Tribeca, marking not only a career milestone for Singh and Kulkarni, but a powerful new voice in South Asian and international cinema. Keep an eye on these two—they’re just getting started.

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