Sai Tamhankar, one of Marathi cinema's highest-paid actresses, has opened up about her approach to choosing roles — revealing a preference for strong, layered, and spine-driven characters over formulaic parts. Speaking in Mumbai on April 25, the versatile actress said her selection process is fluid, instinct-driven, and deeply rooted in the desire to challenge herself with every new project.

No Fixed Formula, But a Clear Philosophy

Tamhankar was candid about the fact that there is no rigid checklist when it comes to selecting her next role. "There is no fixed process to choose parts, really. Sometimes work just comes to you, and you like the setup, you like the people you're going to work with, and you say yes," she told IANS.

She acknowledged the complexity behind every decision, noting that "there are sometimes a hundred different reasons that determine one's choice." This organic approach has allowed her to navigate across languages, genres, and platforms with remarkable ease.

What remains consistent, however, is her instinct for characters with depth. "I like characters who have a voice, who have a spine. I like strong characters, intense, layered characters, and probably that's how I choose," she shared.

A Filmography Built on Versatility

Sai Tamhankar, 39, has steadily built a reputation as one of Indian cinema's most adaptable performers. Her emotionally nuanced performance in Mimi alongside Kriti Sanon earned her widespread critical appreciation. She followed it up with the gripping crime drama Bhakshak, where she delivered an intense, socially relevant portrayal.

Her journey began in Marathi television, where she took on supporting roles before transitioning to films. She gained national recognition through Love Sonia, a hard-hitting drama that tackled human trafficking — a role that signaled her willingness to engage with uncomfortable, socially significant narratives.

Beyond acting, Tamhankar carries an impressive personal background — she was a state-level Kabaddi player and holds an orange belt in karate, disciplines that perhaps inform the physical and emotional discipline she brings to her performances.

Matka King: Her Latest Bold Step

Tamhankar's most recent project is Matka King, a period drama set in Mumbai in the 1960s. The series stars Vijay Varma and Kritika Kamra alongside her. It chronicles the rise of an enterprising cotton trader who, driven by a hunger for legitimacy and respect, launches a gambling game that would come to be known as 'Matka' — a cultural phenomenon that defined an era in Mumbai's underworld history.

The project is a significant addition to the growing genre of Mumbai-based historical crime dramas, a space that has seen massive audience appetite following the success of series like Scam 1992 and Bombay Begums.

The Bigger Picture: Why Sai Tamhankar's Choices Matter

Tamhankar's trajectory is emblematic of a broader shift in Indian entertainment — where regional cinema talent is increasingly crossing over into mainstream Hindi OTT and film projects, not as supporting acts, but as central forces. Her success challenges the long-held hierarchy that placed Bollywood above regional industries.

Her deliberate preference for "something different from the previous work" also reflects a growing trend among mid-career actresses who are refusing to be typecast, instead using each project to redefine audience expectations. In an industry where women's roles have historically been reactive rather than active, Tamhankar's insistence on characters with agency is both a personal and political statement.

She added that challenge remains a core motivator: "Something that I know is going to challenge me, or something I haven't done before, or something I have done before but this time I can do it differently."

What to Watch Next

With Matka King now in the spotlight, audiences and critics alike will be watching closely to see how Tamhankar's performance holds up against the formidable ensemble cast. Given her track record of stealing scenes in every project she takes on, expectations are justifiably high. Her continued rise also signals that the boundary between Marathi and Hindi cinema is becoming increasingly irrelevant — a development that could reshape casting norms across the Indian film industry in the years ahead.