Exploring Queer Themes in Indian Cinema: A Trans-formation on the Big Screen

Shelly Chopra Dhar’s 2019 film, Ek Ladki Ko Dekha To Aisa Laga, starring Sonam Kapoor, Regina Cassandra, Rajkumar Rao, Anil Kapoor, Juhi Chawla and others, tells the story of a closeted lesbian woman from a conservative Punjabi family and her journey of coming out to them. The inclusion of a puppy-eyed, love-struck young man, an amateur theatre group, and an exploration of a post-marriage adult relationship adds depth to the plot. In 2019, the Tamil film 90ml, written and directed by Anita Udeep and starring Oviya, Monisha, Masoom, Shree Gopika, Bommu Lakshmi and others, also explored the storyline of a lesbian woman who desires to be with her lover but fears societal judgment. Similar to Ek Ladki Ko Dekha To Aisa Laga, non-queer characters in 90ml conspire to bring the couple together, creating a mix of fun, humor, and confusion. Kattumaram (2019), another Tamil film directed by Swarnavel Easwaran, features a lesbian couple in a coastal village recovering from the 2004 tsunami. The movie portrays the challenges faced by the couple, as their tentative friendship evolves into love and ultimately becomes a political issue with the entire village opposing them. These films often depict queer relationships as either tragic or farcical, perpetuating the belief that queer individuals cannot thrive without the support of non-queer people. In the Tamil lockdown anthology project, Paava Kadhaigal, the first two films, “Thangam” and “Love Panna Uttranum,” represent the contrasting polarities of this portrayal. “Thangam,” directed by Sudha Kongara, presents the tragic story of Sattar, who becomes a tragic figure within the film and dies to unite a heterosexual couple. On the other hand, “Love Panna Uttranum,” directed by Vignesh Shivan, portrays a potential lesbian relationship first with pathos and then as a farce, using queerbaiting as a marketing tactic to appeal to heterosexual audiences. The Indian film industry, whether it be Bollywood or regional cinema, continues to largely use queer and trans characters as mere plot devices. These characters are often reduced to vessels for directors to address their current concerns or to showcase a rehabilitation project. The idea that queer individuals can lead fulfilling lives without being defined solely by their sexuality is largely absent from the big screen. While there have been some positive portrayals of queer characters in Indian cinema, such as the Malayalam film Njan Marykutty (2018) and the Tamil film Peranbu, these films often cater to a niche audience and struggle for mainstream recognition. Overall, the representation of queer individuals in Indian cinema is still lacking and fails to reflect the diverse experiences and realities of the community. As we celebrate Pride Month in June, it is important to acknowledge and appreciate the potential of queer storytelling to convey tenderness, love, political beliefs, and community action, and to demand better representation in mainstream films.