Jyotsna Siddharth interviewed Niharika Singh for Dalit Feminism Archive to discuss issues of caste, appropriation, representation and feminism in Bollywood.
Shyam Benegal’s first feature film, Ankur, released in 1974 which also marked the debut of Anant Nag and Shabana Azmi disentangles the intricacies of caste, class and gender in both rural and urban settings in a really simplified yet enlightening way.
Films like Game Over have given rise to a new trope in Hindi cinema—the faux feminist. For example, films like Pink or Dangal may have had more on-screen time for women, but they still promote patriarchal ideals with female characters exerting little or no agency.
Mukherjeedar Bou is about the loss of identity that women face when they marry. The change in name subsumes individual selves and is a precursor to squashed dreams and desires.
Khamosh Pani is one of the rare movies, that bluntly show us the cost of independence that women had to pay way back in 1947, remnants of which still persists.
53 years ago, Subarnarekha (1965), an Indian Bengali film and a part of Ritwik Ghatak’s trilogy including Meghe Dhaka Tara (1960) and Komal Gandhar (1961), featured the lives of Bengali refugees in the aftermath of partition of India.
It is unsettling to watch this interview and not feel uneasy. The way in which Sandeep Reddy talks about abusiveness by shrouding it under the blanket of ‘true love’ makes one question if love could be so unsettling and regressive.
The film Article 15 talks about the deep rooted issue of the caste system in India and shows its ugly but real face.
With a predictable plot, unnecessary violence, the resurgence of a broken hero and typical stalker-turned-lover relation, Kabir Singh is a painful three-hour experience for the viewer.
Focused solely on a conversation between two individuals, Oruvanukku Oruthi? takes its audience on a journey of questioning identity, sexual preferences and lifestyle choices.