Examining the Complex Narratives of Women in Cinema: 'Laapata Ladies' Sparks Debate on Gender Roles, Patriarchy, and India's Oscar Selection Process. Vinta Nanda writes…

Photography: Vinta Nanda

The Film Federation of India's citation for Laapata Ladies has sparked a lively debate on the portrayal of Indian women in cinema, with critics questioning the description of women as a "strange mixture of submission and dominance." This discussion extends beyond gender roles, touching on broader issues of women's empowerment, patriarchy, and the intersection of tradition and modernity in Indian society. As Laapata Ladies moves forward as India's official Oscar entry, the controversy highlights the complexity of female representation in film and the ongoing challenges in presenting authentic, multifaceted stories about women.  

The FFI’s citation reads: “Indian women are a strange mixture of submission and dominance. Well-defined, powerful characters in one world, ‘Laapata Ladies’ (Hindi) captures this diversity perfectly, though in a semi-idyllic world and in a tongue-in-cheek way. It shows you that women can happily desire to be homemakers as well as rebel and be entrepreneurially inclined. A story that can simultaneously be seen as one that needs change, and one that can bring about change. ‘Laapata Ladies’ (Hindi) is a film that can engage, entertain and make sense not just to women in India but universally as well.”

This citation has sparked debate. The description of Indian women as "a strange mixture of submission and dominance" raises concerns in the context of women’s empowerment and the ongoing discourse around gender equality in India. This phrasing reduces the complexity of female identity to a simplistic binary: women are either submissive or dominant. This undermines the nuanced understanding of women’s lives, which are shaped by a multitude of factors such as culture, social expectations, education, and economic opportunities.

The use of the word "strange" further compounds the issue, implying that this blend of characteristics is abnormal or unexpected. Such terminology overlooks the progress made in broadening the understanding of femininity. Women in India, like those around the world, navigate multiple roles—often simultaneously—and should not be confined to dichotomous stereotypes. Rather than seeing submission and dominance as opposites, it is more productive to view these traits as part of the rich spectrum of human behaviour that transcends gender.

The citation also frames women's choices within traditional and entrepreneurial ambitions. While the idea that women can be homemakers or rebels is not inherently flawed, it reflects a narrow understanding of women’s aspirations. Many women, particularly in India, are grappling with deeply embedded patriarchal systems that limit their freedom to make genuine choices. Empowerment is not just about choosing between being a homemaker or an entrepreneur but about dismantling barriers to education, healthcare, legal rights, and combating gender-based violence. This framing oversimplifies the challenges faced by women, presenting these roles as easily interchangeable when, in reality, societal expectations often dictate these paths.

Further, the reference to Laapata Ladies taking place in a "semi-idyllic" and "tongue-in-cheek" world trivializes the real, lived experiences of women. In many cases, women do not "happily desire" traditional roles—they are often forced into them due to economic or societal pressures. The portrayal of women’s roles as humorous or exaggerated may detract from the serious conversations needed about gender equality and the systemic changes required to achieve it.

The FFI’s citation risks reinforcing restrictive patriarchal definitions of womanhood. By romanticizing the supposed balance of submission and dominance, it detracts from the real and urgent need to address the social structures that limit women’s agency.  

The Debate Surrounding Laapata Ladies as India’s Oscar Entry

The selection of Laapata Ladies as India’s official entry for the 2024 Academy Awards has ignited a separate debate, one tied to the broader question of cinematic merit and strategic selection. Historically, Indian cinema has struggled to break through at the Oscars, with only three films—Mother India (1957), Salaam Bombay! (1988), and Lagaan (2001)—making it to the final nominations for Best International Feature.

This year, many industry insiders and critics anticipated that Payal Kapadia’s All We Imagine as Light would be the frontrunner for India’s Oscar submission. The film had already earned international acclaim, winning the Grand Jury Prize at Cannes and securing distribution deals in key markets. With its global recognition and thematic depth, many believed it would be India’s strongest contender, particularly given the historical scarcity of Indian films at the Oscars.

However, the decision to select Laapata Ladies sparked surprise, with some speculating that financial backing has played a role. Produced by Jio Studios, part of Reliance Industries, and Aamir Khan, who previously received an Oscar nomination for Lagaan, the film has considerable resources at its disposal for the expensive campaign required to secure a place on the international shortlist. Its availability on Netflix also adds to its accessibility, potentially increasing its chances of catching the attention of Academy voters.

While Laapata Ladies is a critically acclaimed film, its selection over All We Imagine as Light raised questions about whether financial and industry clout has influenced the decision. The competition this year was particularly fierce, with other notable contenders like Anand Ekarshi’s Aattam, which won the National Award for Best Film, and projects like Maidaan and Kalki 2898 AD also in the running.

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Several of the films considered this year were women-centred narratives. In addition to Laapata Ladies, All We Imagine as Light and Aattam dealt with themes of female empowerment and the aftermath of sexual violence. This focus on women’s stories reflects a growing recognition of the importance of gender in storytelling.

While Laapata Ladies has been selected as India’s Oscar entry, the discourse around the film highlights both the challenges women face and the complexities of India’s evolving cinematic landscape. As the film moves forward in the awards circuit, it will be crucial to continue examining how stories about women are framed and received on the global stage, particularly in light of the problematic narratives still present in mainstream discourse.