It has been an agonizing August for Indian women, rife with travesties and triumphs that have gripped the nation’s conscience. Agitation sparked when a medical student in Kolkata fell victim to a heinous crime, sparking the outcry, “beti padhi par bachi nahin” (the daughter studied but could not survive). Amid this despair, a champion wrestler faced casual fat-shaming from a woman Member of Parliament from the film industry for missing her weight category by a mere 100 grams. These incidents served as stark reminders of the ongoing struggles Indian women face daily, both in their personal and professional lives.
Nevertheless, the cinematic world offered some solace and redemption as it spotlighted women who stood their ground in the face of adversity. The spirit of female resilience was celebrated when “Aattam” (The Play), a Malayalam drama by debutant director Anand Ekarshi, claimed a podium spot at the National Awards. The film, a captivating narrative set in the ostensibly progressive realm of theater and cinema, reveals the latent hostility women face when they dare to speak out about bodily violations. Ekarshi expertly uncovers how men, masquerading as gender-sensitive allies, often navigate these sensitivities primarily for personal gain.
The acknowledgment of “Aattam” came just days before the Kerala government finally unveiled the Justice Hema Committee report, which had been long-awaited for four-and-a-half years. The exhaustive report unmasked the pervasive harassment and discrimination that women endure in Mollywood at the hands of a powerful group of male producers, directors, and actors. While it took an inordinate amount of time to make the report public, the Kerala government deserves credit for pioneering this initiative to scrutinize the challenges women face in the film industry. The findings underscore issues resonating across India, as Bollywood actors have long voiced similar grievances of gender discrimination and the infamous casting couch, though such complaints often remain buried.
In tandem with the report’s release, Christo Tomy’s “Ullozhukku” (Undercurrent) garnered significant attention on a streaming platform and at the Kerala State Awards. The film, set in a flood-ridden village where the swelling waters symbolize emotional turmoil, is a poignant exploration of love and companionship. It dismantles entrenched notions of morality and guilt imposed on women, weaving a narrative of a mother-in-law and daughter-in-law navigating life after losing their connecting link to cancer. Featuring stalwarts Urvashi and Parvathy, “Ullozhukku” delves into who wields control over a woman’s body pre- and post-marriage while also confronting sectarian and patriarchal biases within Kerala’s Christian community.
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Following this theme of women’s relationships on screen, Kiran Rao’s “Laapataa Ladies” made its mark by being screened for Supreme Court judges. Echoing “Ullozhukku,” the film examines the unyielding societal rules imposed on women but with a lighter touch. Rao shines a spotlight on the invisibilization of women within a patriarchal framework. Through the character of Jaya, who seizes an opportunity to escape her restrictive environment, and Phool, who faces chauvinistic cultural norms head-on, the narrative unravels the subtleties of female resilience.
The metaphorical dustbin in “Laapataa Ladies,” marked ‘use me,’ finds an echo in Nithilan Swaminathan’s “Maharaja,” where a father uses the imagery to describe his missing daughter at a police station. The film becomes a powerful commentary on the societal and institutional neglect women face. Despite the differences in genre and treatment, both “Laapataa Ladies” and “Maharaja” convey that seeking help from law enforcement can be even more harrowing than the crime itself, highlighting the pervasive corruption and moral decay within the system.
The conversation on violence against women continues with Nikkhil Advani’s “Vedaa,” which features a Dalit girl who steadfastly resists the oppressive forces of caste and morality. Despite the presence of male saviors in the narrative, the girls’ unyielding resolve underscores their genuine courage.
Further contrasting this grim reality, Amar Kaushik’s sharp satire “Stree 2” dissects patriarchy through supernatural elements. Here, demons that rise from the dead aim to sustain chauvinistic norms, preying on women who challenge traditional constraints. Pankaj Tripathi’s character, in his impeccable Hindi, reminds viewers that the length of a woman’s braid is inconsequential; even short-haired women (parkati mahilayen) possess the power to topple entrenched chauvinism. This brings to mind a late socialist leader’s 1997 comment on women with short hair in the context of the Women’s Reservation Bill—a reflection of deep-seated patriarchal attitudes.
As the month concludes, the cinematic portrayals of defiant female protagonists offer a glimmer of hope amid a backdrop of pervasive societal challenges. These films serve as critical reminders of the battles women fight daily, both seen and unseen, and continue to illuminate their resilience and determination in pushing back against injustice.
