Beyond overt violence: Films that challenge subtle misogyny

Unveiling the quiet gender bias women face

While oppression of women has become a prominent theme in Indian movies with hard-hitting narratives taking the centre stage, many films not only portray the external challenges but also highlight the internal struggles and societal pressures that shape a woman’s life. These films reveal how deeply ingrained gender biases are often hidden behind the veil of tradition, family, and social expectations.

Indian cinema has long served as a powerful medium of expression, offering a reflective lens on the society. Over the years, it has consistently tackled pressing social issues, from politics and crime to social injustice and gender inequality.

One of the most prominent themes that has emerged over the years is oppression of women. Films addressing domestic violence, gender discrimination, and the societal norms that oppress women have time and again become key themes of many movies reflecting the harsh realities.

From Achhut Kanya in 1936 and Sujata in 1959 to Aakrosh in 1980 and Do Patti in 2024, Indian films have not shied away from presenting graphic and intense portrayals of such issues. These movies have provided a platform for hard-hitting narratives that highlight the brutality and injustice women endure, while also showcasing their strength.

However, there is another, subtler form of misogyny that deserves attention, the everyday gender biases that women experience, which are often overlooked. This kind of quiet discrimination which is deeply embedded in the daily life, from the home to the workplace, and shows up in seemingly innocent actions or words.

Films like English Vinglish, The Last Colour, and Sharma Ji Ki Beti capture these experiences, offering a closer look at how societal norms and expectations shape the lives of women, often without them even realising it.

These films reveal how misogyny exists not only in overt actions but in the small moments of everyday life.

Mrs (2025)

Mrs, Hindi adaptation of the Malayalam film, The Great Indian Kitchen, explores the subtle yet evident and impactful misogyny that women face in traditional middle-class households. The protagonist, a woman in a typical service-class family, is often expected to fulfil her role in household duties while going through the relentless the coldness and entitlement of her husband.

The story brings attention to the emotional labour and expectations placed on women, portraying how domestic work is often undervalued and considered a woman’s sole responsibility.

The film speaks to how these subtle acts of disregard towards women’s aspirations and needs are part of a deeply ingrained cultural expectation.

English Vinglish (2012)

In English Vinglish, Shashi, played by late Indian actress Sridevi, is a middle-aged woman who is constantly belittled by her family for her lack of proficiency in English language, and embarks on a journey of self-discovery.

While the film does not present physical violence, it highlights the emotional and intellectual suppression women experience.

Shashi’s journey to learn English becomes a metaphor for reclaiming her identity and dignity in a world that constantly undervalues her worth.

The film highlights how women, especially in traditional households, are often seen as inferior or inadequate simply for not fitting into the mould of societal expectations.

Tumhari Sulu (2017)

Tumhari Sulu released in 2017, portrays the life of Sulochana Dubey, a middle-class housewife who unexpectedly embarks on a career as a late-night radio jockey.

While the film celebrates her newfound independence and confidence, it also showcases the everyday misogyny she faces from her family and society.

As Sulu steps out of her traditional role as a housewife, she faces criticism, judgment, and even passive resistance from those around her. Her struggle represents the quiet battles women face when they challenge societal expectations and pursue personal dreams.

Queen (2014)

Queen is the story of Rani Mehra, a young woman, played by Bollywood actress Kangana Ranaut, who sets out on a solo honeymoon trip to Europe after her fiancé calls off their wedding.

The film addresses the emotional abandonment and betrayal she experiences, but it also explores how societal expectations of womanhood confine her. Initially, Rani is portrayed as someone who derives her identity from her fiancé and family.

As she embarks on her journey, however, she discovers her independence and strength, learning that women are not defined by the relationships they hold with men.

The Last Colour (2019)

In The Last Colour, directed by Vikas Khanna, the film focuses on the lives of widows in Varanasi, who are subjected to social exclusion, isolation, and severe restrictions simply because of their gender and marital status.

While the film discusses the more overt societal oppression that widows face, it also sheds light on the everyday, subtle misogyny that underpins these attitudes. The widows, rejected by society for not adhering to expected norms of womanhood, live in the shadows, their lives stripped of joy and autonomy.

The quiet cruelty of these traditions reveals how gender inequality is perpetuated through cultural practices, making women’s suffering invisible or seen as normal.

Sharma Ji Ki Beti (2022)

Sharma Ji Ki Beti is a film about the pressure faced by three women at different stages of lives living under diverse circumstances. The film examines the expectations placed on women, especially in terms of their career and family choices.

The women are judged not only by their achievements but also by their ability to conform to societal standards of womanhood, often forced to navigate difficult choices between personal aspirations and family obligations.

It highlights how women, even in urban, educated settings, face systemic gender bias that restricts their freedom and autonomy, especially when they do not conform to traditional roles.