Kangana Ranaut has given a bravura performance as a woman, who under the allure of easy money, develops a betting fixation. She then has a hard time getting loan sharks off her back. She’s effortless in front of the camera, though the film isn’t without its flaws. But it’s rare for our films to show a woman succumbing to her dark side and struggling with her demons. And maybe more mainstream filmmakers will explore that in future.
In Toilet: Ek Prem Katha, Bhumi Pednekar plays a woman, who rebels against her husband and in-laws when she finds they lack a loo in their house. Not having access to a bathroom is a pertinent problem for women in India even after 70 years of Independence. Women aren’t supposed to talk about it and just carry on regardless. It’s good someone thought about making this hugely relevant film. In another recent release, Shubh Mangal Saavdhan, Bhumi plays a woman, who empathises with her man when he can’t get it up. Instead of shunning and shaming him, she’s shown to be supportive of him. It’s to Bhumi’s credit that her performance appears real and not contrived.
In Bareilly Ki Barfi, Kriti Sanon is shown to be a small-town girl interested in breakdance and foreign films. She wants a life beyond marriage and motherhood. And that’s tapping into the aspirations of a large number of women cloistered in our backwaters. Alia Bhatt too faces a similar dilemma i