You see, you are being pushed and pulled in all directions because people around you, whether family, friends or the larger society, expect you to behave in a particular fashion and stick to existing norms. However, your inner voice is telling you to challenge these norms and follow your own path.
Reviewing three films (or the subplots of three films) to see how subplots show that marriage isn’t a destination or a single story that begins and ends in the ‘happily ever after’.
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.
100 issues, 8 years! Thank you, dear readers and contributors! As we planned for this issue to put on our…
Nathicharami takes sexuality and sexual desire away from upper-class, Gucci-clad women and makes its viewers acknowledge its existence in the lives of women (middle-class wives and widows, in the case of this film) who are invisibilised, both in the society they live in and as subjects of popular content.
Marriage also feels complicated when one approaches it through the lens of feminism. Marriage throws in two people and often their families into a system designed to perpetuate patriarchy, subjugate women, and bind men and women (in heteronormative marriage) into strict roles in the marriage.
What can celebrating sexuality look like? Un Sacré Mariage!, an animated short by Francis Papillon and Gregory Verreault shows us with aplomb, jest and buoyancy that one of the ways to do it could be by moving away from conventions and rituals.
If we are to reimagine coupledom and sexuality, we need to expand and challenge our ideas about togetherness, romance, love, intimacy, desire, sex, attachment, and so on.
Coupledom may or may not be for everyone, and does not mean the same thing to everyone. Importantly, coupledom does not hold the same value or position in our lives, even in the lives of the individuals perceived to be parts of a couple structure.
Practicing polyamory comes with the struggle of breaking down value systems and non-acceptance that may lead to ostracism not only from the heterosexual world but also from the queer and trans community. Claiming oneself as queer depends not only on how one identifies, but also, in society’s eyes, on who one’s partner is; being single does not qualify and neither does being polyamorous as the latter is considered ‘non-serious’.
I was not simply stuck within the binaries of “same-sex” or “opposite sex,” assuming that any reference to “same-sex” is in itself already revolutionary. But the call to recognise friendship, is a call to recognise so many forms of community that are made invisible by the emphasis within a liberal or conservative framework on “marriage” as the only path to family making.
The anthology’s pull rests in its sincere and frank portrayal of male and female desires cutting across the divides of age, sexuality, and socioeconomic position. In terms of romance, the idealistic, till-death-do-us-part fantasy peddled by our movies and mainstream literature has been replaced by a realistic portrayal of modern relationships.
I wanted to be one of those people who decide to never date again and actually follow through. Indeed, I decided that a lot. A resolution that was broken so many times that it became a running joke in my head.
People looking for queer plots in Bollywood are sometimes disappointed, as the focus on marriage in many films seems to suggest that Bollywood is a conservative genre invested in sanctifying reproductive heteronormativity.