What did you like about the script for Sister Midnight? It was quite absurd! The whole thing. Just a bit bonkers. Like, anything happens. And it felt very exciting. It was very honest.

How does it compare to other films you’ve done? People are so scared of writing things in action; they spell out everything. A lot of times you read scripts where you think that a look or body language can’t convey something and you have to put it in words. This was literally the opposite, which was very exciting for an actor.

Uma goes on such a transformation in this film. Can you describe her? She’s full of heart. The character is so endearing and innocent and rebellious. She just says ‘why not?’ and, in that regard, I think there’s this rebellious child in her which needs to be present in all of us. 

What was it like working with a first-time director like Karan Kandhari? Uma is Karan in my head. So Uma is him. He was juggling so many things: his first feature in a different country, different crew, crazy shifts. We had such a hectic shoot. We had six weeks, half of them night shoots, and not enough days off. It was really hectic. He was juggling a lot and yet he was trying to maintain such a beautiful connection with me constantly.

From Iggy Pop to Bengali folk, Sister Midnight also has a terrific soundtrack. Was the music helpful? Karan and I didn’t really know each other, apart from the fact that I had read his script and then we decided to work together; and it took five years for the project to happen. So when we met each other again in a rehearsal space, we basically had no idea where to start, and so the music was the best place to begin. The moment he put music to particular scenes, I knew exactly how to enter. There’s an entry, there’s suddenly a door. Music is that, right? Smell and music, I feel; two things that can transport you and take you to a certain place. So I think that’s what the music did. 

Do you feel like this is a unique role for you? I really do. Actually, I don’t think I’ve ever come across anything like this in my career. And also, the process was very unique for me. So it really stands out in my work. 

You’ve worked with director Michael Winterbottom and actor Dev Patel before on The Wedding Guest. Are you hoping to do more international movies? I really just like doing films that challenge and excite me, whatever language and wherever they are. Because now London is also home, I’d love to do more work here.

You’ve just worked with Justin Lin, the director of Star Trek Beyond and several Fast & Furious films, on real-life missionary drama Last Days. What can you tell us about that project? I’m a police inspector. We were shooting in a very hot Thailand, in my first trimester! But the team was just the best. 

With films such as the Cannes-winning All We Can Imagine As Light, Sister Midnight and the upcoming Santosh, it seems like a good time for Indian film? Definitely Indian talent, let’s say, because this is British; in fact, all three films are collaborations. But there’s a lot of Indian talent involved. They’re not Indian films in the traditional sense but the stories are based in India and the people are from India. And I think putting that on a global platform just changes things. I think especially because they’re not Indian films, for me that’s most exciting, because it suddenly gives them a very universal appeal. In the sense any story is universal and just because you see Indian faces, it doesn’t need to be Indian. 

Sister Midnight is in cinemas from Friday 14 March.