A digital magazine on sexuality, based in the Global South: We are working towards cultivating safe, inclusive, and self-affirming spaces in which all individuals can express themselves without fear, judgement or shame
The film Hot Girls Wanted followed the journey of five young women aged 18-25 years as they joined the pornography industry and also looked more broadly at at women in this age group and their motivation to join.
I recently watched North Country on Netflix, a movie based on a true story of a woman’s fight for equality at the workplace. It is based on the case, Jenson vs Eveleth Mines, in the United States in which Lois Jenson, fought for the right to work as a miner, and the right to work free of sexual harassment. She won the landmark 1984 lawsuit, which was the first class-action lawsuit on sexual harassment at the workplace in the United States and resulted in companies/organisations having to introduce sexual harassment policies at the workplace.
Queer Intentions manages to capture the vast nuances of the queer experience, as Abraham creates space for LGBTQ+ people of a whole spectrum of identities and diverse walks of life to tell their stories.
Directed by Saim Sadiq, Joyland (2022) is not a film about trans rights or women’s rights. It is not even about one specific group or community of people. It is about the whole spectrum of human emotions.
I recently had the wonderful opportunity of attending the seven-day Sexuality, Gender and Rights Institute (SGRI)* organised by Delhi-based organisation…
In this narrative, Sita finds solace in these women and understands a different perspective about beauty, self-worth, authority, self-reliance, and toward the end, finds liberation from society and marriage which were the root cause of her sorrow.
The plot of the movie narrates the tale of the love that grows between two people who are struggling to survive in a world of rootlessness and are continuing to make a cosy home for themselves. The love between Madhu, who works as a food delivery boy, and Puti, who survives by singing at traffic signals, blossoms while they cross paths everyday at the traffic signal and the look that they exchange appears to us as if each of them is trying to find a home in the other.
I realised that we are constantly thinking about the future and our life as we age, and are afraid of facing the world alone. The uncertainty of future events, of which there are many combinations, makes us feel insecure and vulnerable.
Māyā Mridanga infinitely problematises the nature vs. nurture debate that is central to sexuality studies. The novel seems to suggest that a certain kind of male body – feminine, smooth, shapely – is the ideal raw material for making a chhokra out of a biological man. Ustaad Jhaksa, whose life the novel documents[2], repeatedly emphasises on this act of nurturing, moulding and pruning of a feminine male body for which he has fatherly affection as well as a lover’s lust.
The film has all the makings and trimmings of a commercial thriller – a dynamic story, song and dance, an action-packed climax – and at the same time, it is a cinephile’s film.