Kalki Koechlin has long stood out for her unconventional choices, whether in films, plays, podcasts or web series. Beyond her craft, her deep connection with nature shapes her advocacy for mindful consumption and systemic change. In an interview with Preetha Banerjee, Koechlin reflects on the roots of her ecological awareness, the tensions between individual and corporate responsibility, and how storytelling can shift cultural imagination:
You have often talked about living mindfully and staying connected to nature. What sparked this consciousness and how has it evolved?
I was privileged to grow up surrounded by wildlife and nature. I lived in the Nilgiris, near the Mudumalai Sanctuary, where it was normal to see elephants, bears, deer and bison. Our trips were always nature-based—we would set up tents, go trekking, paddle down rivers and learn how to kayak. From a young age, I was taught the importance of leaving no trace; not leaving any plastic behind. I also spent time in Auroville, which has a strong sustainable ethos. The idea is to give back to the community through whatever business you run. People were co-dependent on each other for various needs, with plenty of exchanges and a strong focus on growing organic food. Later I have supported Eco-femme, an environmentally conscious organisation that makes reusable sanitary napkins, among other products.
I am not against technology, but I believe humans have forgotten that they are part of nature as they embrace techno-logical advancement. People are being displaced due to floods, droughts and other extreme weather events, or because of pollution in cities like Delhi or Mumbai. These are all very real outcomes of ignoring nature.
How can one incorporate the ethos of sustainable living into daily life?
There are two aspects to this. One is the overemphasis on individual responsibility, when, in reality, the onus lies with big corporations. So much is blamed on individuals—for example, for not composting or recycling plastic. Even if we are separating our plastic, most of it ends up in dumps.
The real issue is the production of these items. To address this, individual choices matter—things like where we buy our clothes, food or other products from. At the individual level, sustainable practices are also crucial. Where I live in Goa, I have campaigned for a local community initiative called “Makanaka plastics”. The group circulates cloth bags among shopkeepers and vegetable vendors, made by local women from discarded fabric. Practices like sustainable tourism can also make a difference. Choose homestays within the community instead of five-star hotels. And it does not have to be backpacking—it can be luxurious and still sustainable.
As a celebrity, I feel it is important to influence the brands I work with and encourage them to shift some of their ethos towards sustainability. A cultural shift is also needed so that sustainable living does not feel like a punishment, but rather something that brings joy. For me and my daughter, Sappho, going to a waterfall on the weekends is far more fun, exciting and stimulating than visiting a mall.
How has becoming a parent changed the way you look at environmental issues?
I feel a deep responsibility for Sappho to grow up in a world where she can still dive into the ocean and witness the sea life, which is rapidly disappearing; coral reefs are dying. One of the biggest decisions I made was moving to Goa after she was born. We had been stuck in Mumbai during the lockdown, and it was intense being confined to an apartment for the entire pandemic period. We realised we wanted to live somewhere with a garden and open space. Of course, that was not affordable in Mumbai, so we moved to Goa. It has been challenging for me, as I work in Mumbai and travel back to Goa. But it is worth it. Sappho is able to see and experience the natural world in ways that are essential for her development. Her environmental consciousness is growing naturally, as her weekends are spent on the beach, at waterfalls, trek-king or climbing trees. She is witnessing the growth of plants around us—like tulsi (basil), curry leaves and mint. She knows which plants are edible and which are not, and she knows which caterpillars she should avoid touching.
Can storytelling as a medium bring about social and environmental changes? Do you see that Indian film industry is becoming more sensitive to environmental issues?
Absolutely, storytelling is key. Take the Leonardo DiCaprio film Don’t Look Up, for example. It is a humorous yet starkly accurate portrayal of the climate crisis. It connects with a much larger audience, making a serious issue more accessible. I remember telling Sappho a bedtime story about this young woman in South America who climbed a tree and decided to live there to prevent a big company from razing the forest to the ground. She made a home in the tree, with a cooking stove and blankets, and stayed there for years until she won the lawsuit that saved the forest. Sappho was so moved by the story.
As for the Indian film industry, I would say we are still a long way off, especially when it comes to creating impactful films about the environment. The industry also needs to be more mindful of the environmental impact of its own practices. It frustrates me how we go into forests for shoots and leave trash behind. On a positive note, fashion and magazine shoots are being more conscious, where it is common to find glass bottles and recyclable materials. Still, a lot of work needs to be done.
This article is from the January 1-15, 2026 special edition, "Anxiety in a warming world", featuring exclusive interviews with Dia Mirza, Kalki Koechlin, Kiran Rao, Nila Madhab Panda, Sajana Sajeevan, Tsewang Chuskit, Manish Mehrotra and others, as well as columns by scientists, activists and journalists