Women have been fighting for screen space in star-driven films and are now slowly carving a niche for themselves
The film industry is often criticized for not giving women artistes enough attention, both on and off screen. Be it actors or filmmakers, movies fronted by women are still finding their space in the sector. However, the change has begun and 2018, just like 2017, has proven to be a strong year for the leading ladies in the film business.
Commercially, many films with powerful female characters in the lead stood strong at the box office this year. From Padmaavat and Raazi in Bollywood to Mahanati and Bhaagmathie from the South, female-driven films brought cheer to the industry.
Two women-centric films this year entered the coveted Rs 100-crore club. The first venture to not only achieve this feat but go beyond the benchmark was Padmaavat, which saw business of Rs 300 crore. Next to join the list was Alia Bhatt-starrer Raazi, that came as a surprise to the industry and within three weeks of its release, made its way into the Rs 100-crore club.
While Rani Mukherjee-starrer Hichki did business of Rs 46 crore on its home turf, it became the sixth Indian film to score a century in China. In fact, trade experts believe that presence of strong female characters is a winning formula in the neighbouring nation.
This year, women also showed that with great writing, they can provide the much necessary support to male actors in a film. Actresses like Taapsee Pannu, Tabu and Sonam Kapoor made their presence felt in their respective films Mulk, Andhadhun, PadMan and how.
Directors also concur that 2018 has been the year of strong and varied characters for female actors, which not only received critical appreciation but also made money. With four actresses at the forefront, Veere Di Wedding boldly and uninhibitedly entertained the audience and took home Rs 80 crore with a budget of Rs 42 crore.
On the regional front, Tamil cinema delivered three women-centric films. Also, the characterisation of female leads in these films is a proof that even Tamil cinema is going through a sea change for women. In Kolamavu Kokila, actress Nayanathara played the character of a drug smuggler. On the other hand, actress Jyothika portrayed the various struggles of a housewife in Kaatrin Mozhi.
Two female stars proved their might at the box office this year. Anushka Shetty’s horror-thriller Bhaagamathie performed exceedingly well — both in domestic and overseas markets — and earned over Rs 68 crore worldwide. Mahanati, featuring actress Keerthy Suresh as Savitri, took the box office by storm. The biopic of iconic superstar Savitri crossed Rs 75-crore mark worldwide in 50 days.
Eswari Rao’s character as the nagging wife Selvi in Kaala or Andrea Jeremiah’s performance as the temptress Chandra in Vada Chennai are some of the other exemplary performances.
Women have been fighting for screen space in star-driven films and now they are slowly carving a niche for themselves.
The scenario is similar off-screen as well. Although the number of female directors are less in India, filmmakers like Nandita Das with Manto, Rhea Kapoor with Veere Di Wedding, Rima Das with Village Rockstars (India’s official nominee for the Oscars) and Meghna Gulzar with Raazi came to the fore this year and redefined Indian cinema.
Along with 2016 and 2017, 2018 too has emerged as an indicator of change for women in the film business.
