Khalid Mohamed in conversation with Danish Renzu on his widely-acclaimed gentle and poetic film Songs of Paradise 

Songs of Paradise, directed by Kashmiri filmmaker Danish Renzu and streaming on Prime Video, is a moving tribute to legendary singer Raj Begum, often called the “Nightingale of Kashmir.” With stellar performances by Saba Azad and Soni Razdan, the film revives Kashmir’s lost musical heritage while celebrating the courage of its first prominent female radio singer. Through poetic storytelling, traditional instruments, and soulful recreations by Masrat and Abhay Sopori, the film stands apart from formulaic Bollywood narratives, offering audiences a rare cinematic experience rooted in Kashmiri culture, history, and resilience.

Quite clearly, Danish Renzu is far away from the madding crowd. Without any vaulting ambitions on his agenda, he isn’t aiming to find a place under the Bollywood sun.

Born in Kashmir, the 39-year-old filmmaker had moved to study in the U.S. Shuttling between Los Angeles and Mumbai now, his off the beaten track film Songs of Paradise streaming on Prime Video, has received instantaneous hosannas and respect. Moreover, the inspired performances of Saba Azad and Soni Razdan have been garlanded with praise.

A biopic of the pathbreaking singer Raj Begum (renamed Zeba Begum) of Kashmir, is remarkable for its poetic and gentle quality, remarkably different from the ongoing trend of overwrought action movies and synthetic love stories, the world over. Above all, its music score is its prime strength.

Over, then, to excerpts from my interview with the producer-writer-director Danish Renzu:

On the germinating point for Songs of Paradise.

Kashmir’s musical heritage has been disappearing. Because of decades of conflict and the lack of archival facilities, many recordings by Kashmiri musicians have been lost – we can’t even trace songs that were once recorded. Songs of Paradise sets a platform to revive that legacy, to preserve and celebrate music that might otherwise have vanished.

Raj Begum is an unsung hero from Kashmir who truly deserves to be celebrated. When I first came across her songs, I was deeply moved. They inspired me to write this script. The story really germinated from her music. Her songs are love songs, melancholic yet beautiful ghazals, and I felt I had to make a film around them. As I read more about her life, I was amazed by her courage. At a time when women had limited rights, she sang fearlessly, broke barriers, and her powerful voice opened doors for future female artists. For me, both as a Kashmiri and as a filmmaker, it felt important to start a new kind of cinema from Kashmir. We’ve seen the same narratives again and again, why not celebrate a musician who few outside Kashmir even knew about? This film is a tribute to her legacy. And now, seeing people talk about Raj Begum, rediscover her songs, and celebrate her life makes us feel our job is complete.

On its reviews.

It’s overwhelming to see so much love for our film. People are appreciating that, finally, there’s a film on Kashmir that truly reflects its people, culture, and music, while also paying tribute to a forgotten legacy. What moved me most is that critics are acknowledging this as the kind of story they want to see from Kashmir which is exactly what we set out to do. We’re celebrating the region’s music, art, and culture, and I’m glad the songs have touched so many hearts. They’re not just recreations, but an essential part of the storytelling.

On his backstory.

I was born and raised in Kashmir, where my love for cinema began early. I grew up watching a lot of Iranian films — their quiet power, poetic realism, and deep human stories really stayed with me. Even as a child, I knew I wanted to be a filmmaker. At 18, I moved to the U.S. to begin the journey of an immigrant life. I studied Electrical Engineering at UCLA, but I minored in Film and Screenwriting. That’s where things really started to take shape. I spent those years learning the craft, writing constantly, and working on short films whenever I could.

In 2016, I finally made my first feature. That’s when I became truly committed to filmmaking as more than just a passion. Since then, it’s been a long, challenging, but incredibly rewarding road. I’ve worked across different forms — features, music videos, and documentaries always grounded in storytelling which are humane and deeply personal. For me, filmmaking isn't just a career, it’s the only language I know to make sense of the world, to preserve memories, and to connect cultures. As someone who comes from Kashmir and is now based in Los Angeles, I carry both worlds with me in everything I create.

On whether Saba Azad was on his mind for the lead part from start.

I always wanted to cast a musician for Zeba’s character. Soni Razdan was already locked in for her as an older Zeba, she was the perfect fit and bore a striking resemblance to Raj Begum. I was looking for someone who not only looked similar but was also well-versed in Urdu. When we did a Zoom call reading with Saba, I immediately knew she was the right fit. She also bears a strong resemblance to Soni, so it all just came together. I don’t think anyone from today’s generation of actors could’ve portrayed the character the way Saba did.

On the film’s minimalist style devoid of melodrama and overloading the script with details of the political atmosphere in Kashmir at the time, the 1950s.

This was always the intention. We already have enough films that focus on the socio-political aspects of Kashmir, often repeating the same points of view over and over. As a Kashmiri and a filmmaker, I felt a responsibility to shift the narrative to highlight the art, music, and culture of the Valley instead. Kashmir is rich in history and holds countless incredible stories of unsung heroes.

On whether he believes that Raj Begum’s recordings were burnt in an accidental fire.

If you speak to any musician from Radio Kashmir — from Raj Begum’s era in the 1950s to even those from the 1980s, you’ll find they don’t have their recordings. They’re all lost. Conflict, lack of funding for archiving, floods, and even a fire are among the reasons. Discovering this was painful for me. It broke me. When I met the late Pandit Bhajan Soporiji, he played some songs that no longer exist but he still remembered his compositions. That was heartbreaking.

We’ve recreated those songs while keeping their authenticity intact. We wanted to use the same musical instruments that were available back then and give the songs a vintage feel. I think Masrat and Abhay Sopori have done a brilliant job in recreating them. Finally, we have a platform for these lost songs and our mission feels accomplished.

On working on another project set in Kashmir.

Yes, my next film is also a musical set in Kashmir. It’s more contemporary and focuses on today’s youth and their dreams.

On whether he can imagine himself working from Mumbai in Hindi films any day.

I’m currently between L.A. and Mumbai, so I’m open to exploring opportunities in both places. That said, I don’t see myself participating in mainstream commercial Hindi films — that’s just not my taste or creative space.
In this context, I’d add that the film is inspired by the music and songs of the legendary Padma Shri Raj Begum, the first prominent female singer at Radio Kashmir. She broke barriers and paved the way for other women to enter the radio station. Her songs, mostly love songs and ghazals resonate deeply with themes of self-discovery and inner reflection. She’s one of the unsung heroes who truly deserves to be celebrated. Seeing people now write about her, research her life, and talk about her legacy makes my heart so full. I feel like our job is done.

On where we can see his earlier films and shorts.

My last two feature films, Half Widow and The Illegal, are streaming on Prime Video. I’ve also made a few short films, including The Good News and My Father’s Doctor, which are now available on YouTube.

On how the soundtrack of Songs of Paradise was created. The voice of Raj Begum on songs on Spotify is much more strong and even raspy at times. Was Saba's voice used at all?

Raj Begum lost most of her original recordings from when she first started at Radio Kashmir. While she re-recorded many of her songs later in life, her early recordings carried a delicate timbre that was both unique and emotionally resonant.

When we auditioned musicians in Kashmir, the goal was never to find someone who sounded exactly like Raj Begum, but rather someone who could honour the beauty and emotional depth of her songs. Masrat, who makes her debut in this project, is a trained singer. The moment I heard her voice, I knew she was the right choice.

We initially tried recording with Saba. However, since she doesn’t speak Kashmiri, we mutually agreed that we needed someone local, someone who could truly connect with the language and the soul of the music.
When Masrat recorded the first song, I was struck by the natural vibrato in her voice. She even recorded the entire track in mostly one take. It’s incredibly rare to find singers of such calibre — she was, without a doubt, the best choice for this film.

For the musical recreations, our vision was to remain true to the authenticity of traditional Kashmiri music. We used original Kashmiri instruments and aimed for a vintage touch. Abhay Sopori, who comes from a renowned musical family, was the perfect collaborator. His father, the late Pandit Bhajan Sopori, a santoor maestro, composed a few songs for the project and brought with him a deep knowledge of Kashmiri musical heritage. Their involvement brought the perfect blend of tradition and expertise to the film’s soundscape.

On whether it was difficult to shoot in Kashmir under the current circumstances there.
Since 2020, Kashmir has undergone notable changes, particularly with the rise in tourism and the introduction of the film policy. We were fortunate to shoot our entire film in Kashmir with full support from the government. It was a hopeful and energising time for filmmakers.

Unfortunately, recent events have set things back, bringing uncertainty to a region that had just begun to open up to consistent film production.

It will perhaps take time before filmmakers feel confident returning. Still, in July we managed to shoot a few music videos for my label among the first projects to resume after the disruption. I remain hopeful. Kashmir is full of talent, rich stories, and breathtaking landscapes. Its people and its spirit deserve to be part of the cinematic conversation.