“Men act, and women appear. Men look at women. Women watch themselves being looked at.”
Perhaps John Berger’s famous argument in his book Ways of Seeing (1972) was finally tested in India in the exciting year that was 2024. For it has been a landmark year for the voices of women in film, voices that have risen to the forefront, pushing boundaries with their unique perspectives and creating compelling narratives that have captivated audiences and critics.
From the critical acclaim of Girls Will Be Girls by writer-director Shuchi Talati, which kicked off the year in January, to the incredible path-breaking success of Payal Kapadia’s All We Imagine as Light — which continues to resonate well into this year — 2024 marked an extraordinary wave of women in Indian cinema. The achievements this year of filmmakers such as Anupama Srinivasan (co-director of Nocturnes), Sandhya Suri (writer-director of Oscar-shortlisted Santosh), Lakshmipriya Devi (writer-director of Boong), Rima Das (writer-director of Village Rockstar 2), Reema Kagti (director of Superboys of Malegaon), Arati Kadav (director of Mrs), and many others, have further underlined that women filmmakers are not only helping shape Indian cinema, but they are also defining its future on the global stage. Their ability to craft authentic, thought-provoking stories showcases the diversity of Indian cinematic voices. And I think that these accomplishments represent an occasion for celebration and contemplation.
Ever since the birth of the cinema industry in India over 100 years ago, women have occupied positions of varying influence but have never monopolised the spotlight as they have this year — as writers, actors, producers, directors, cinematographers and more. Special mention must be made of Sneha Desai (co-writer of Laapataa Ladies and Maharaj), Ishita Moitra (creator and co-writer of Call Me Bae), producer Jyoti Deshpande (president of Media and Content Business at Reliance Industries Ltd), Aparna Purohit (chief executive officer of Aamir Khan Productions), actors Kani Kusruti, Anasuya Sengupta, Shahana Goswami, Chhaya Kadam, Nitanshi Goel, Pratibha Ranta and Parvathy, cinematographer Shreya Dev Dube and so many more who have pushed the envelope for all of us.
The success of Kapadia and her film deserves every celebration, as does Guneet Monga’s journey to the Oscars with Anuja (co-produced by Monga, it is shortlisted in the Live Action Short category) and Sandhya’s with Santosh, shortlisted in the International Feature Film category at Oscars 2025. Here’s hoping they all bring home even more glory. Their achievements reflect the importance of representation and the power of their voices, not just in terms of gender but in creating opportunities for unique narratives to flourish. I am also particularly grateful for the opportunity to pitch Laapataa Ladies on a global stage, well after all the love the film received from audiences at home. While we didn’t make it to the end, we gave the journey our very best, pushing boundaries and finding new paths, as those before us did.
As we step into this new year of possibilities, the challenge ahead is not merely about replicating the success of 2024 or the years gone by but also about ensuring that these achievements are sustainable and lead to an on-ground change in the industry. To make the triumphs of 2024 a long-term reality, some challenges must be overcome: That of creating an enabling environment where both emerging and experienced filmmakers — especially those from underrepresented groups like women — have the infrastructure and support they need to thrive.
The success of any cinema industry cannot be defined solely by the number of films showcased at international festivals or the box-office success of big-budget films. It must also be defined by the inclusivity of its narratives and the diversity of the people telling those stories. The industry must actively work to foster inclusivity, which is the hallmark of a robust and vibrant film ecosystem. In this regard, kudos to Richa Chadha and Ali Fazal for their initiative in setting up the Undercurrent Lab to introduce more female gaffers to the industry. Kudos also to Guneet and her team for setting up the Women in Film chapter in India and — most important of all — the Women in Cinema Collective (WCC) for their remarkable and sustained work towards creating a safe and equitable workspace for women in the film industry. There is hope that initiatives like these will inspire the change that we deserve: Change that starts as a delicate ripple and then gathers the force to reshape the world.
Looking ahead, 2025 already holds immense potential — not only for homegrown box-office successes but also for pushing the boundaries of Indian cinema and expanding its global market and influence. The year is poised to begin with a bang as the Marathi film Sabar Bonda competes at the prestigious Sundance Film Festival. Soon after, the Rotterdam International Film Festival will showcase films like Bad Girl and The Puppet’s Tale in competition, while Palm Springs will feature Bun Tikki and Headhunting to Beatboxing. The Berlinale, one of Europe’s most revered film festivals, will continue to highlight Indian talent with Rima’s Village Rockstars 2.
I am filled with optimism — not only for the stories that we will tell but for the creative and collaborative community we will continue to build.
Here’s hoping that in 2025, we reflect on the successes of the past year and learn from them that diversity of voices and greater representation become embedded features of our industry and that we are able to create environments that allow the traditionally underrepresented to thrive. These are not mere trends to look forward to but changes that must take place if the future of cinema in this country is to remain vibrant.
The writer is a filmmaker
