Mumbai: Sanjana Sanghi says she is keen to deepen her presence in the streaming space, marking what looks like a deliberate turn toward long-format storytelling after years of being seen largely in films. In recent interviews, the actor said she has already wrapped her first long-format project and is now actively hoping to do more OTT series work.
For Sanghi, the timing feels telling. Her recent public comments suggest she isn’t treating OTT as a fallback or a side lane. Quite the opposite, really. She appears to be viewing streaming as the next serious phase of her acting journey, especially at a moment when many actors are moving between theatres, direct-to-digital films and prestige series without drawing hard lines between them.
That shift also lines up with the afterlife of Dhak Dhak, the 2023 road drama she starred in alongside Ratna Pathak Shah, Dia Mirza and Fatima Sana Shaikh. The film didn’t make a huge theatrical splash at first, but it later found a warmer reception on Netflix, building a following on streaming. That OTT response has now translated into forward movement on a sequel, with Sanghi recently confirming that the script is ready and that the core team is excited about returning.
There’s a bigger career recalibration happening too. Sanghi has said she spent a recent gap in releases thinking through her next moves and is now exploring work beyond the conventional Hindi film track, including international and Western projects. That doesn’t mean she is stepping away from Indian screens, but it does suggest a broader ambition: more formats, more markets, and maybe a different kind of visibility than the one that first came with Dil Bechara.
Her public profile has been widening outside cinema as well. Just days ago, coverage around her appearance at the Harvard Kennedy School’s Women in Power Conference underscored how she is increasingly positioning herself not only as an actor, but also as a youth advocate and public speaker. In practical terms, that matters because it feeds into the kind of screen projects she may now be drawn to—stories with stronger identity, sharper social texture, and more room to breathe than a two-hour film usually allows. That final point is an inference based on the direction of her recent public engagements and project choices.
For now, the clearest takeaway is this: Sanjana Sanghi seems ready to bet on duration. Not just another film, not just another appearance, but longer arcs, slower character building, and the week-to-week pull that OTT series can offer when they land well. In an industry that has stopped treating streaming as secondary, her next chapter may well unfold episode by episode.
