Leading women actors, producers, and directors in the Telugu film industry are pressing the Telangana government to publicize a report on sexual harassment that has been on hold for two years. This move is seen as a crucial step toward establishing safer working conditions within the industry.
Both the Movie Artistes Association and the Telugu Film Chamber of Commerce are currently engaged in discussions regarding how to address this pressing issue.
The support group, Voice of Women (VoW), dedicated to advocating for women in the Telugu film sector, released a statement on August 30, drawing parallels to the Hema Committee’s disclosures about sexual exploitation in Malayalam cinema. This statement gained traction after being shared on social media platforms by prominent actor Samantha Ruth Prabhu, among others.
This appeal follows the impactful revelations made by the Hema Committee report, prompting Samantha Ruth Prabhu to urge the Telangana government to make the subcommittee’s findings public. Alongside, Telugu star Nani described the Justice Hema Committee report as ‘alarming,’ emphasizing the need for action. Other notable figures, such as character artists, have also stepped forward, seeking a safer work environment.
The situation is not new. The Telugu film industry witnessed a surge of similar allegations following actor Sri Reddy’s public accusations and the #MeToo movement in 2018. However, the report, which was submitted to the Telangana government in June 2022, remains unpublished.
Sri Reddy’s protest in 2018 against sexual harassment, staged outside the Telugu Film Chamber of Commerce, drew widespread attention. Although her actions led to her being shamed and banned by the Movie Artistes Association, they sparked significant conversations about the pervasive nature of sexual harassment in the industry.
In response, VoW was established as a support group, formed by prominent women in the industry, aiming to address and ameliorate the systemic issues. Actor Jhansi, a founding member of VoW, explains, “VoW did not emerge from a government mandate. It began as a collective support group for women in cinema, television, theatre, and media. We had to take this initiative because, even today, no film union will take the lead in ensuring a safe workplace for women.”
Numerous stakeholders have been actively involved in these efforts since 2018, including producers like Supriya Yarlagadda and director Nandini Reddy. These VoW members have been advocating for the establishment of Internal Complaints Committees within production houses and unions but acknowledge that more decisive action is necessary.
In a notable development, a public interest litigation filed by the Telangana Women’s Organisation joint action committee led the State government to establish a high-level committee (HLC) under the Department of Cinematography. This committee included members from various departments such as Labour, Human Rights, and Women and Child Welfare, along with the State police. A sub-committee, comprising members of civil rights societies and voluntary organizations, was also formed.
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Independent researcher A. Suneetha, affiliated with the All India Feminist Alliance, detailed the committee’s extensive work. Multiple interviews and sessions were conducted from July 2019 to March 2020, and again in 2021, culminating in a report submitted on June 1, 2022.
Describing the report’s preparation, Suneetha said, “Discussions were held with different unions in the film industry — known as crafts councils — including the apex body of the unions and representatives of the Telugu Film Chamber of Commerce. The producers’ council, women producers, and directors were consulted to gather their suggestions and recommendations.”
A significant issue revolves around entry barriers for work, with unions often acting as gatekeepers demanding exorbitant registration fees. Jhansi points out that these practices make women particularly vulnerable, especially those in roles like makeup artists, who struggle to obtain a proper union card.
The term ‘commitment’ has often been a euphemism for sexual favours within the industry. Although the #MeToo movement has altered the way predators operate, the issue of exploitation persists. Measures such as conducting auditions in public spaces and in the presence of other women have been suggested.
The exploitation extends beyond sexual harassment to pay disparity and poor working conditions. Junior artistes frequently do not receive fair compensation or adequate facilities such as transport, changing rooms, or nursing rooms. Despite initial resistance from unions and production houses, efforts to address these issues continue.
Jhansi highlights the contrast with the Malayalam cinema movement, spurred by a case involving a leading actress, which saw prominent figures rallying for change. In the Telugu industry, many prominent women remain reluctant to speak out, fearing professional repercussions.
Director Nandini Reddy believes the release of the report and the formulation of guidelines by the Telangana government, with input from women’s groups and legal bodies, would mark significant progress. She emphasizes that any actress or technician who opts to pursue legal action should not face shame or backlash.
Despite the setbacks caused by the pandemic, there have been positive changes post the Sri Reddy allegations and the #MeToo movement. The industry now sees more prominent female producers and a new generation of directors focused on equitable work environments. Transparent audition processes and public spaces for such activities are among the measures suggested to ensure a fair working system for all.
The demand for the report’s release is a call to action for the industry to institutionalize safe, fair, and equitable working conditions for everyone involved.
