They fall in love as they study at college and find ways to spend time together.
She adores driving a tractor and a motorcycle and is both headstrong and intellectually proficient. Archana "Aarchi" Patil is the wealthy upper-caste landlord and politician's daughter. He excels at school and serves as captain of the local cricket team. Prashant "Parshya" Kale is a low-caste youngster whose father works as a fisherman. Marathi filmmaker Nagraj Manjule released his first short “Pistulya" in 2009 about a low-caste boy who wants to go to school, and spoke about his Dalit background in interviews.īut both his own brother and a close upper-caste friend warned him to avoid the subject for fear of ostracism.Sairat : Release Date, Trailer, Cast & Songs About Sairat Such subjects are also gaining cinematic currency in other Indian languages, including Marathi spoken in Bollywood’s home state Maharashtra. “Jai Bhim" - as well as box office hits by Dalit Tamil directors Pa Ranjith and Mari Selvaraj - are part of the “beginning of an awakening" in Indian cinema, Baskaran added. Theodore Baskaran, right-wing politics under the ruling Hindu nationalist Bharatiya Janata Party (BJP) have helped fuel such movies, along with growing political awareness and education among Dalits in Tamil Nadu. They are not just subjects of atrocity."Īccording to film historian S.
Ghaywan, a Dalit director in Bollywood, said that in contrast, Kollywood stories were “coming from authenticity". When lower castes are depicted in Bollywood, they fall into familiar roles of oppressed characters in need of upper-caste saviours, said filmmaker Neeraj Ghaywan, whose directorial debut “Masaan" won two awards at the 2015 Cannes film festival. India has about 200 million Dalits - once known as the “untouchables" and the lowest group in the caste system - and more than 100 million also marginalised tribespeople.īut their life stories are rarely told and India’s prolific film industry generally favours bankable action-packed song-and-dance extravaganzas. It has been selected as India’s entry for best international feature at next year’s Oscars. “Koozhangal", a Tamil film internationally known as “Pebbles" about an alcoholic father and his son, tackles issues of poverty and patriarchy. The success of “Jai Bhim" highlights the rise of such films in Kollywood.
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In a vast nation of 22 official tongues, Kollywood and other minority-language producers are often overshadowed by the glitzy, Hindi Bollywood.īut Tamil legal drama “Jai Bhim", released on Amazon’s streaming platform instead of cinemas, has attracted rave reviews and currently stands as the highest-rated film by all voters globally on movie database IMDb, with a score of 9.5.īased on the true story of a lawyer battling for justice for a tribal woman whose husband was accused of theft and tortured and killed in police custody, “Jai Bhim" has been praised for its unflinching portrayal of judicial violence.īut after an association representing the Vanniyar caste complained the film portrayed them in a bad light, a local politician offered 100,000 rupees ($1,300) to anyone who physically attacked Suriya.Īrmed police were deployed to protect the star’s home, amid an outpouring of support for him on social media. Many of the directors are from the Tamil film industry “Kollywood" - nicknamed after Chennai’s Kodambakkam district where many studios are based - with some from the oppressed communities at the bottom of the country’s rigid caste system. Now independent, mostly non-Hindi language filmmakers are challenging attitudes with powerful stories of injustice to give them a voice. Facing systemic exploitation and discrimination, India’s lowest castes have barely been acknowledged on the big screen.
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