What the series gets right, in all its twisted glory, is the pressure of being a single woman. Masaba’s desire to live on her own, away from her mother’s coddling, is refreshing to watch.
Don’t watch this movie as you would watch the usual mainstream Hindi film, the one that tells you exactly what to think and why. This is a movie that rewards close watching
Marriage as a social institution is a very important subject that can be used to study the agency of women in society
Bulbbul is the story of a witch, a chudail. For centuries women have been branded as “witches” if they failed to conform to society’s rules.
Comics are often products of the time they are created in, like every other art form like the subtle images of gender inequality and racial discrimination in the Wonder Woman comic series
For a decade, the Indian movie theater has been dying by inches thanks to the twin evils of rising ticket prices, and increasing Internet streaming rights purchase prices
Shakuntala as a movie is a lot of things, but it is hard to determine whether it is feminist or not, for even though it tells the tale of a woman who aspired to have it all, it is also a tale of a dominant, controlling mother who neglected the wants and needs of her stifled, wanting daughter; for a major chunk of her childhood.
Pinjra Tod (Break the cage) is a feminist collective run by female college students all over the country. This collective challenges rules and regulations, which tend to tie down women’s freedom and try to provide a counter-narrative to the age-old brahminical patriarchal rules which fail to give space to women’s rights, religious diversity, class diversity and to those who do not fall under the gender binary.
Aruvi is not a violent film; it is an entertainer. However, the systemic violence in it is not inconspicuous; it is the crux of the plot.
Indian film might rest entirely on the shoulder of its titular character and it’s all about him/her (often HIM, HIM and only HIM). But if supporting characters are well written and acutely performed enough, it can become about everyone.
Gulabo Sitabo marks the fourth collaboration of writer-director duo, Shoojit Sircar and Juhi Chaturvedi. 2012 onwards, this collaboration has culminated in some of the groundbreaking movies in Hindi cinema. However, the film seems a bit of a letdown with the absence of heavy emotions as portrayed in Sircar’s Piku or October or a unique storyline as portrayed through Vicky Donor.
There have been many attempts to remake this film involving real people in it. Twice, once in 2005 and again in 2008, this project was brought to life. But neither of the two could match the quality of the original work. A consensus, apart from varied formative analyses constituted by the experts, is that some things can never be repeated, and it’s not a wrong belief either.