The long-anticipated K. Hema Committee report, detailing the myriad struggles faced by women in the Malayalam film industry, was finally made public on Monday, a staggering five years after it was initially submitted to the Kerala government. The findings within this voluminous 235-page document unveil a shocking and disheartening landscape of sexual exploitation, illegal bans, discrimination, substance abuse, wage disparity, and, in certain instances, inhuman working conditions.
This meticulously compiled report, which takes great care to redact the names of both the witnesses and the accused to protect their identities, paints a grim picture of an industry dominated by a select group of male producers, directors, and actors. This influential clique, which a prominent actor referred to as a “mafia,” has the power to essentially blacklist individuals from the industry, making any dissent an act of professional suicide.
One of the most damaging confirmations from the committee is the existence of the notorious “casting couch.” Unlike other fields where sexual harassment might occur after a woman begins working, in the Malayalam film industry, demands for sexual favors are made even before women enter the workforce. High-profile industry figures demand these favors in exchange for roles, illustrating the severe abuse of power prevalent in the industry. Some witnesses courageously provided video clips, audio recordings, and screenshots of WhatsApp messages as irrefutable evidence of these casting couch propositions.
On the ground, many women find their work environments to be frightening and unsafe. The accommodations provided during filming often become arenas of intimidation, with men in an inebriated state incessantly knocking on their doors. Instances of forceful attempts to break into their rooms were also recounted, adding to the horrifying experiences detailed in the report. One particularly harrowing account describes an actress who had to enact the role of an abuser’s wife the day following her assault, exacerbating her trauma.
In a bid to manipulate newcomers, influential individuals in the industry propagate the notion that successful women owe their achievements to compromising their morals, further entrenching the cycle of exploitation. Many witnesses were understandably reticent during their testimonies, fearing severe repercussions not just for themselves but also for their close relatives. Their fears are far from unfounded, as the committee notes concerns about the safety of these women and the potential for dire consequences should their identities or testimonies be disclosed.
Adding to the climate of fear and intimidation, women in the industry seldom approach law enforcement, wary of retribution from powerful industry players and potential cyberattacks given their public profiles. This atmosphere of apprehension was starkly evident when the Hema Committee attempted to engage with dancers in the industry via a WhatsApp group. The majority of members quickly exited the group, highlighting their fear of association. Junior artists, often among the most exploited, displayed similar caution.
The report also brings to light the coercive strategies employed by the industry’s “power group” to control actors’ careers.
. Producers are strongly discouraged from casting actors who have fallen out of favor, and the Film Chamber of Commerce holds the power to withhold a movie’s release through the denial of necessary clearances. Production controllers, too, play a significant role in enforcing bans, effectively marginalizing dissenters. Notably, members of the Women in Cinema Collective (WCC), whose demands led to the creation of the Hema Committee, have faced industry-wide bans for speaking out against the atrocities experienced by women.
The report further highlights the deplorable working conditions on set, especially for junior artists. The lack of gender-specific amenities such as changing rooms and toilets, particularly in outdoor locations, leads to frequent urinary infections among women. Alarmingly, some prominent male actors who provided testimony dismissed these issues as trivial.
Junior artists often work in conditions akin to slavery, with shifts extending up to 19 hours without proper compensation or timely payments. Instances of severe neglect are reported, such as a 70-year-old woman left without medical assistance after sustaining severe burns on set. These personnel are not affiliated with any film organizations, leaving them without representation or protection.
The absence of written contracts allows for rampant exploitation, with actors and technicians frequently deprived of their verbally agreed-upon remuneration. One notable example includes an actress compelled to perform intimate scenes. When pressured for more revealing shots, she chose to leave the set, forfeiting her pay under duress. The director threatened to retain the intimate footage unless she complied with his demands.
The struggles faced by assistant and associate directors are also grim. Their roles remain undefined, and they are inadequately compensated despite months of continuous work. They lack daily allowances, and their labor during strenuous pre-production phases is not acknowledged as ‘work’. One witness recounted the story of a woman scriptwriter whose theme of gender justice was undermined by the director, leaving her unwilling to claim the altered script as her work.
The Hema Committee recommends that an Internal Complaints Committee alone may not suffice, as powerful figures could easily manipulate or threaten its members. Doubts are raised about the confidentiality of information provided to an ICC, particularly if comprised of industry insiders, thereby exacerbating the torment faced by complainants. The committee advocates for the government to enact a suitable statute and establish a Tribunal to address these pervasive issues, offering a robust framework for protecting women in the Malayalam film industry.
