THE FEMALE GAZE

A look at how far the Indian film industry has come to represent women. Or has it?

- Humra Afroz Khan

The debate around the representation of women in the Indian film industry—both on and off the screen—has been gaining momentum. And as more women assume significant roles as directors, writers, editors, and more, one would think the portrayal of women on-screen would evolve, moving away from the propesque objectification towards a more compelling, central-to-the-story depiction. Just as the reception of their designations off-screen will change for the better, too. Turns out, while there has been a remarkable shift on both those fronts, they’re still disturbingly wanting in many aspects.

One doesn’t have to look far to find examples. Before Lipstick Under My Burkha was cleared for release in 2017, the Central Board of Film Certification had run into a controversy after it refused to certify the film, citing that “the story is lady-oriented, their fantasy about life. There are continuous sexual scenes, abusive words...”, among other plaints, for their decision. There will be numerous other instances if one goes searching. From the gender of the protagonist, to the audience it caters to, and even the sex of the filmmaker—a ‘women-centric’ film has many layers—each subjected to its own set of scrutinies and met with its own share of stereotypes, right from the creation to the release of the film, even today.

To probe deeper, we spoke to four women directors—fronting the movement of women empowerment, both in front and behind the camera. Through their thought-provoking films and emboldening stances, four trailblazers pen essays about the changes they’ve observed, and why the trials and tribulations associated with a ‘female’ film may have lessened with time...but are far from over.