The Marathi film Nude: Chitraa traces the life of a woman who escapes an abusive marriage with her young son and ends up becoming a nude model for art students at Sir JJ School of Art in Mumbai.
1984 When The Sun Didn't Rise looks at the women who survived the Anti-Sikh massacre of 1984 living in the Widows Colony of Delhi.
Parched is a story of four ordinary women Rani, Lajjo, Bijli and Janaki set in a patriarchal village of Rajasthan, who unapologetically talk about love, men, sex and their lives.
Holi songs reflect a disturbing rape culture where men are portrayed as deriving pleasure from harassment and women from being harassed.
It is not uncommon in Bollywood horror films to equate the act of ‘being possessed’ to the gender stereotypes about women being weaker and hence falling victims to external forces.
In Ottamuri Velicham, Sudha is the object whom her husband takes out all his frustrations on – raping her, beating her up, and torturing her using new tools night after night.
After Dum Laga Ke Haisha (DLKH), I looked at Bollywood expectantly to give us more heroines with realistic bodies.
Pinjar brings out the struggles faced by women during the Partition without demonizing or valorizing either of the sides.
Veere Di Wedding is feminist to the extent the market will allow it to be. It is not a radical overturning of gender roles and expectations in Hindi cinema.
Choppy, murky, untethered and raw- that's precisely what the narrative of Udta Punjab boils down to.