Rather than focusing on the power play and horror of the act of rape, Malayalam films use them to titillate tantalise the male audience.
More than half the Tamil movies I watched had extremely light-skinned women from the North playing the roles of 'typical' Tamil women.
A case in point is the recent film, Kumbalangi Nights. What, on the surface level, is a simple story using the age-old trope of women as foil for reforming men, simmers with the possibilities of a radically new imagination of the Malayali family.
In Dangal, nationalism takes over feminism and women's agency gets lost in the name of "women's empowerment".
Meena Kumari pioneered the portrayal of feminine anguish and sorrow, earning her the title of 'Tragedy Queen of Bollywood'.
Pink, however not flawless, is an important film, not only because it deals with an important issue of victim-blaming, but is also somewhere breaks conventions and reinforcements of mainstream cinema in a lot of ways.
Majili is a recent Telugu release, directed by Shiva Nirvana that stars Samantha Akkineni, Divyansha Kaushik, and Naga Chaitanya.
Padmavati must carry the insecurities of patriarchal and casteist fringe outfits and call it her 'honour'.
Nina Paley created the unapologetically quirky, irreverent, and unconventionally animated film Sita Sings the Blues after her own divorce from her husband. She saw in the tale of Ramayana, which the film juxtaposes with the story of Nina’s own divorce, “the greatest break-up story ever told.”
Baahubali 2 shows radical women of a certain time period and the price they were made to pay for hurting the masculine ego.