On-screen representation of queer communities in new-age Bollywood
The media we are exposed to as viewers constantly reshape our views as individuals in society, and the type of content produced by filmmakers is a fair reflection of social realities. With emerging trends and social movements that reconstruct societal norms, the entertainment industry aims to depict these redefined realities on-screen to maximize viewership and relatability amongst the audience. Pride activism has been a large-scale global social movement and has caused a great shift in social perceptions regarding acceptance of queer communities. Representation of these communities in media has slowly but surely made its place in the content we consume, with a 5.8% increase in the number of characters expected to be queer on screen. (GLAAD Studio Responsibility Index). This representation is widespread across all film and television industries, including Bollywood. The Bollywood film industry based in India is globally recognized for its musical extravaganza, diverse genres, star-based viewership, and iconic dialogues and catchphrases. This legacy has been continued for ages by both old and new upcoming directors and producers, and the industry experiences significant growth every year. The new age of Bollywood cinema is characterized by the exploration of sensitive yet critical themes, including the representation of queer communities in the Indian context. Traditional Bollywood filmmakers are catching onto this trend, and hence Indian cinema, through observation of recent content, is on a trajectory to change the social landscape through the power the movies hold in the entertainment industry.
One of the directorial takes through which queer communities have been promoted in Bollywood cinema is through the emergence of films that frequently feature LGBTQ+ characters in leading roles. Shubh Mangal Zyaada Savdhaan (2020) directed by Hitesh Kewalya and starring Ayushmann Khurana and Jitendra Kumar explored queer relationships as the two protagonists were a gay couple. The empowering storyline depicted the hardships these characters went through for their relationship to be accepted by their families and largely by society. A greater emphasis placed on understanding acceptance of queer relationships in the Indian context contributed to the success of the film, receiving a 93% rating from Rotten Tomatoes. Another film directed by Abhishek Kapoor, Chandigarh Kare Aashiqui, starring Ayushmann Khurana and Vaani Kapoor as lead actors explored the hardships of the transgender community through the character of Maanvi Brar, a transgender woman. As the movie explores the journey of Maanvi’s acceptance as a transgender woman by her lover, a deeper understanding of the social stigma around the transgender community in an Indian context is explored, which further contributes to the success of the film as a strong piece of commentary advocating for this community of individuals to be treated fairly and with due respect.
Another directorial take to represent queer communities on screen in Bollywood is through independent cinema, as independent filmmakers passionate about this social issue make films to advocate for the acceptance of LGBTQ+ individuals in society in a more authentic and critical light. Ek Ladki Ko Dekha Toh Aisa Laga (2019) directed by Shelly Chopra Dhar, starring Sonam Kapoor explores the identity of a lesbian woman, Sweety, who marries a man to hide her identity from the world while keeping her relationship with her female counterpart private. This movie deeply explores the hardships faced by Sweety, and further explores the intersectionality between gender and sexuality in an Indian context. Another independent film Margarita With A Straw (2014) directed by Shonali Bose and starring Kalki Koechlin explores the life of a queer disabled woman who explores her sexual identity through the course of her life. This critically
acclaimed film takes the audience through the turmoils of Laila’s life while exploring the concept of bisexuality and gender fluidity. While these films explore concepts of intersectionality consistent with the director’s understanding of Indian society, Indian television has taken a similar take on this issue through the translation of these concepts into web series.
Web series are an emerging form of media in the Bollywood film industry, and due to the nature of the media, the on-screen representation of queer communities is more realistic and relatable. Four More Shots Please directed by Nupur Asthana explores the concept of homosexuality through one of the four protagonists’ love life who identifies as a bisexual woman, while carefully incorporating aspects of stigma revolving around homosexuality in an Indian context and the role it plays in the everyday lives of people belonging from the LGBTQ+ community. The roles of familial pressure, conformity to social norms, and expression of identity are successfully explored through the protagonist’s narrative.
The new age of Bollywood is primarily a period during which the on-screen representation of queer communities is being noticed due to increased social awareness, however, Bollywood filmmakers have been creating this type of content since before the “new age” was characterized. Bollywood films like Fire (1996) and My Brother Nikhil (2005) which explore LGBTQ+ themes have been in existence since before a widespread understanding and awareness of acceptance of these communities came into existence in the Indian context.
Positive queer representation in Bollywood cinema has been consistent with the social evolution with regard to acceptance of LGBTQ communities in society. Subsequently, a positive response has been received by the viewers in terms of undoing the negative effects of pre-existing stigmas that exist within Indian society. On the contrary, a majority of Bollywood movies exploring concepts of homosexuality have received backlash due to a traditional social viewpoint on sexuality. While the positionality of the filmmakers of the new-age Bollywood movies has been questioned due to their lack of first-hand knowledge and casting of cishet actors, it must be noted that for greater representation of queer communities in Bollywood, the industry first must create a safe space for these individuals to come out and perform on the big screen. However, this transformative path of new-age Bollywood is just the beginning of a larger social revolution which could only be brought about through successful media representation of queer communities.
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Writer: Shivangi Dhamija
Editor: Nupur Maley
