The Huddle to have discussion on the many shades of womanhood on screen
It is a fascinating moment for Indian cinema. While acts of machismo still dominate the screen, Indian films, and film industries, are breaking out of their ingrained androcentrism. Across regions and languages, artists and directors—via nuanced, sensitive and lyrical explorations of the female experience—are broadening the boundaries of storytelling.
And while women filmmakers and actors are at the forefront of this change, some of these films are also beautifully helmed by male directors and writers, transcending biases linked with artistic endeavour.
For The Hindu Huddle, internationally acclaimed actor‑turned‑filmmaker Nandita Das (Manto, Zwigato), powerhouse performer Shahana Goswami (Santosh, Despatch) and visionary director-screenwriter Jeo Baby (The Great Indian Kitchen, Kaathal - The Core) sit down to discuss the many shades of womanhood and feminine power on screen.
The session — The female gaze: Redefining cinema on the global stage — will be moderated by Shilajit Mitra, film critic of The Hindu. The Huddle, a marquee event of The Hindu Group, is to be held in Bengaluru on May 9 and 10.
The speakers will delve into how the film industry, long shaped by patriarchal hierarchies, has, over time, seen women break barriers and assert their voice. But while women-led narratives are celebrated, is parity and acceptance being achieved? The discussion will also address issues of censorship and self-censorship. Films steeped in the politics of liberation — social, physical, sexual — often come under intense societal scrutiny. What, then, are the challenges of bringing these narratives to a wider audience?
Finally, the conversation will consider the rising global recognition of gender-sensitive cinema out of India. Even as soft power narratives dominate, how is an alternative view of Indian cinema reaching the world?
If you have any questions that you would like our moderator to ask the panelists, write to us at huddle@thehindu.co.in.
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From the India Today archives (2011)
(NOTE: This article was originally published in the India Today issue dated June 20, 2011)"As I begin to paint, hold the sky in your hands; as the stretch of my canvas is unknown to me."—M.F. Husain With the death of Maqbool Fida Husain in a London hospital on the morning of June 9, India has not only lost her most iconic contemporary artist but also perhaps one of the last living symbols of the very idea of her modern, secular and multicultural nationalism. Born in 1915 at the temple town of Pandharpur in Maharashtra, Husain came from a lower middle class Sulemani Muslim family and rose through the ranks to become India's most famous painter of people, places and a visual artist-especially a mid-20th century modernist painter-Husain was precariously perched on the crest of a nascent and evolving national consciousness. In the post-Partition era, when he first burst on the Indian art scene, Husain became a much celebrated symbol patronised by the Nehruvian state looking to create modernist role models. Yet, that very celebrity made him and his works vulnerable to be hijacked, misrepresented and reviled three decades later by a semi-literate cabal claiming to represent the collective voice of a largely silent Hindu majority. In fact, the torrid love affair between Husain and 'modern secular' India and their eventual dismaying disengagement makes for a civilisational sociologist Veena Das remarks, this "impossible love" had an inherent fragility because the idol, the image and the word are all strongly contested entities. It is also further complicated by the illicit intimacy between history and the 'perception of history' in post-colonial imaginations. The tantalising and tragic relationship-between a nation's notion of the self and Husain's visualisation of it in his art practice-became the vexed terrain over which competing political alignments fought their proxy wars for a good two decades before it eventually led to Husain's self-imposed exile from India in 2006. Four years later, he accepted Qatari nationality, spending his time between Dubai, London and Husain was educated in the streets of Indore, a madrassa in Baroda, the Indore School of Arts and very briefly the J.J. School of Arts, Mumbai. He was an immensely talented and intelligent man with an enormous curiosity about the world who learnt effortlessly from life and people. He arrived in what was then Bombay in the early 1930s, penniless but bursting with enthusiasm and energy, traits that he retained all through his first started out by walking the streets of Bombay offering to paint portraits of people who could afford to pay him Rs 25. There were not too many commissions but some of these early portraits still survive. In 2008 in London, I saw a portrait Husain had done of Lord Ghulam Noon's elder brother in a Bhendi Bazaar sweet shop. Soon, he moved to painting cinema hoardings, first for V. Shantaram's Prabhat Studios and later for New perched high on bamboo scaffolding, Husain learnt to be able to concentrate amid the noise and chaos of the street below. He used to paint 40 foot hoardings for four annas a foot under the blazing sun in Mumbai for many years. From painting hoardings, he progressed to designing toys and painting children's furniture for Rs 300 a month. "But even at that time I knew I would be an artist one day," he used to say, adding, "there was a time when I painted furniture by day and my own art by night. I painted non-stop." Cinema held a life-long fascination for Husain and decades later, he went on to make several much-talked about films. Of these Through the Eyes of a Painter (1967) won the Golden Bear at the Berlin Film Festival but the most well-known is Gaja Gamini (2000) that featured Madhuri Dixit as his muse. In 2004 he made the semi-autobiographical Meenaxi: A Tale of Three Cities with Tabu in the lead role which ran into trouble with Muslim life started to change radically around the time of Independence. Francis Newton Souza (1924-2002), the prodigious enfant terrible of Indian art, spotted Husain's talent by chance and immediately included him in his Progressive Artists Group (PAG) in 1947. Husain's work was noticed right from that first showing and with the encouragement of Rudi von Leyden, the German Jewish art critic, he held his first one-man show in Mumbai in 1950. With prices ranging from Rs 50 to Rs 300, the exhibition sold out. 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