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Women Power unleashed during the month of March

Enkayaar, Bollywood Trade News Network
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Naseerudin Shah must be a mightily pleased man as during this month for the first time two of his films were released on the same day and they were totally at contrast with each other. One was FIRAAQ and the other BARAH ANNA. Apart from the fact that in such an illustrative career that Nasser has two of his films released on the same date, another significant milestone that was released during the month of March was the fact that woman power in he genre of film making was unleashed at its best.

What a repertoire of films that have been released, from LITTLE ZIZOU to FIRAAQ and BARAH ANNA, along with STRAIGHT have a predominant presence of women behind the camera i.e. in the creative side and the result is exploration of topics as diverse as can be possible but without going above the board any time.


The month of March is different from the perspective of women being associated with the art of film making on account of the fact that these films have not delved on any issues that have an appeal or a flavor tilted towards the issues pertaining to women. All the issues are contemporary and have relevance in the modern times. BARAH ANNA is one film, for example, where the entire ensemble in the production side comprises of women, but there are no female actors in the film in front of the camera.

This is a significant departure as women are making their presence felt in the production side in a big way. At the international level the efforts made by Loveleen Mishra through SLUMDOG MILLIONAIRE also needs to be underlined for the same reason.


All these films need to be emphasized for the sheer fact that they have brought into focus and relief an focus the issues pertaining to the common man and the struggle that he has in his day-to-day life, whether it be at the economic level as in BARAH ANNA, it being related to the question of identity as it is in FIRAAQ, or the choices that an individual faces in terms of his sexual preferences as in STRAIGHT or for that matter the questions that a community needs to ask to itself, fighting as it is to maintain its identity and stonewalling the change that is being ushered in as in LITTLE ZIZOU.

Indeed this should be a good initiation point for more women directors, and producers to come forward and start making films on he subject that they feel has contemporry relevance.

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