Feminist Narratives Put Indian Cinema on the World Stage in 2024

Kayal Kapadia told the BBC that while the women in her films are financially independent, their personal lives, especially when it comes to love, are still shaped by societal restrictions. "Love in India is very political," she explained. "Women are often seen as carriers of family honor and protectors of caste lineage. So, if a woman marries outside her religion or caste, it becomes a big issue. It's really just a way to control and infantilize women."

Meanwhile, Shuchi Talati’s Girls Will Be Girls dives into female adolescence, rebellion, and generational conflict. Set in a strict Himalayan boarding school, the film follows a 16-year-old girl grappling with her identity and her fraught relationship with her mother, Anila, who is navigating her own emotional struggles.

Film critic Shubhra Gupta points out how rare this kind of storytelling is in Indian cinema. “It’s a coming-of-age film we never really see here. It portrays women with empathy and warmth,” she says. Gupta also highlights the unique perspective of the film. “It explores that age when people feel emotions with and without their minds and bodies, without making it seem childish—something mainstream Indian cinema hasn’t done before.”

Kiran Rao’s Laapataa Ladies may not have set the box office on fire, but it received warm praise from critics and audiences alike. At a BAFTA screening in London this month, Rao called this period "a truly special moment for women from India" and shared her hope that more such stories will continue to emerge.

The film is a satirical comedy about two newlywed brides who accidentally switch places on a train due to their veils. Beyond the humor, it delivers a sharp critique of patriarchy, identity, and gender roles, marking a significant departure from the traditionally male-focused narratives of mainstream Indian cinema.

Bollywood star and co-producer Aamir Khan reflected on the film’s themes, saying, "Many of us hold patriarchal beliefs simply because it’s how we were raised. But it’s important to be open, to try and support each other in moving beyond this mindset."

One of the most unexpected highlights of the year came from the UK, which chose Sandhya Suri’s Hindi film Santosh as its official Oscar contender. Filmed entirely in India over 44 days with a largely female crew, the thriller stars Shahana Goswami and Sunita Rajbhar. With co-producers from the UK, India, Germany, and France, the film takes on the topic of violence against women, offering a distinctly Indian narrative with a universal message.

Goswami feels that the success of Santosh and All We Imagine as Light reflects a shift in global cinema, where boundaries are blurring and industries are expanding. "Indian films don’t need a specific cultural context to resonate. Emotional storytelling speaks to people everywhere," she shared with the BBC. She also thinks cross-border collaborations will be key moving forward, pointing out how a partnership with a French producer can help a film reach broader audiences.

Bollywood also saw strong performances from women-led films this year. Stree 2, a horror-comedy about a monster that kidnaps independent women, became one of the top hits at the box office. On the streaming side, Sanjay Leela Bhansali’s opulent Heeramandi: The Diamond Bazaar on Netflix, which delves into the lives of courtesans in pre-independent India, ranked among Google’s most searched TV shows of the year.

These successes underscore the growing demand for fresh, diverse stories that mix important themes with entertainment. Despite the challenges, 2024 has highlighted the rising influence of Indian women in film, offering a promising outlook for the wider distribution of indie films and a more diverse, inclusive industry.