Pragnya Komandoor | 18 July 2025
Telugu cinema has long captivated audiences with its emotional intensity, heroic narratives, and cinematic grandeur. But beneath the action-packed plotlines and star-studded frames lies a deeper story — one that deserves far more attention: the way women are portrayed on screen.
For decades, female characters in Telugu films were confined to traditional roles. They were caregivers, lovers, mothers, or dutiful wives — always kind, often silent, and rarely the centre of the story. Even when a woman played a major part, her arc often ended in marriage, sacrifice, or tragedy. These portrayals reflected more of what society expected from women than the complexities of their actual lives.
But something began to shift after 2015. A new generation of female characters emerged — emotional, bold, imperfect, and above all, real. These were women who had opinions, desires, and voices of their own. They were no longer present just to complete a hero’s journey — they had journeys of their own.
Women at the Centre, Not on the Sidelines
Actresses like Sai Pallavi and Anushka Shetty became emblematic of this change. Their characters were layered and substantial. In Fidaa, Sai Pallavi played a spirited rural girl who refused to give up her dreams for love — a portrayal rooted in both authenticity and defiance. In Virataparvam, she took on a complex character inspired by revolutionary ideas, showing emotional strength and ideological conviction. These were not ornamental roles — they were leading ones.
Films like Mahanati, Oh Baby, and Fidaa opened new doors for female storytelling. Mahanati gave us the powerful life story of legendary actress Savitri — not just as a cinematic icon, but as a woman who experienced love, fame, failure, and personal loss. Oh Baby took a playful yet poignant look at ageing and independence, following the journey of an older woman who gets a second chance at youth. These stories weren’t just “female-led” — they were emotionally resonant and commercially successful, proving that audiences are ready for change.
Directors Who Understand Women
Male directors, too, have played a role in reshaping female representation. Sekhar Kammula, in particular, has consistently written female characters with depth, dignity, and agency. His heroines are not accessories to the hero; they often form the soul of his films. Kammula’s work proves that men can tell women’s stories with respect — if they choose to listen and observe with care.
What makes these portrayals powerful is not that the women are perfect — but that they’re human. They evolve, make mistakes, assert themselves, and lead lives of their own. And importantly, audiences have responded. These films have not just earned praise from critics; they’ve done well at the box office, too.
The Other Side of the Industry
Yet despite these encouraging signs, Telugu cinema today is caught between two very different approaches. While some films have started giving women meaningful roles, a significant chunk of mainstream, star-driven cinema still clings to old formulas — where the male hero is the sun around which everything else must revolve.
In these stories, women often start out bold but are eventually “corrected” into silence or submission. Their confidence is chipped away, either by the narrative itself or through subtler cues — how they’re spoken to, how they’re dressed, or how the camera frames them. The message is clear: women can be strong, but not too strong. And if they are, they must be tamed.
Take Pushpa, for example. Rashmika Mandanna’s character has little purpose beyond reacting to or admiring the male lead. Her emotional world is barely explored. She exists not as a fully developed person, but as a device to glorify the hero.
Arjun Reddy is another telling case. While it gained massive popularity, the film also drew criticism for its troubling portrayal of masculinity and relationships. The male lead is controlling, aggressive, and emotionally volatile — yet his behaviour is romanticised as passionate. The female lead, meanwhile, has almost no dialogue. She is present but voiceless — her inner life left entirely unexplored. This kind of storytelling normalises toxic behaviour and sends a dangerous message: that love means domination, not respect.
The Ongoing Problem of Objectification
One issue that refuses to go away is the item number. These songs are crafted to be visually flashy and crowd-pleasing, but they almost always reduce women to objects of male desire. The camera lingers on their bodies, the lyrics are often suggestive, and the woman’s presence is stripped of personality. It’s not entertainment — it’s objectification. And when young audiences consume these portrayals repeatedly, they internalise a troubling message about how women should be seen and treated.
Even when a female character is present in a film, her arc often exists to support the hero’s — not her own. She forgives his mistakes, helps him grow, or becomes the reason he changes. Her purpose is linked to his progress. Her story rarely stands independently.
A Glimpse of Hope — and a Long Road Ahead
But change is coming, and audiences are playing a key role. Viewers today are more vocal. On social media, in reviews, and in everyday conversations, people are questioning outdated portrayals. They’re calling out sexism, celebrating strong characters, and demanding more nuanced stories.
This change won’t happen overnight. Many blockbuster films still follow age-old patterns, and the industry continues to favour male-centric narratives. But the seeds of transformation have been sown. A growing audience is ready for Telugu cinema that shows women as they are, not as they are expected to be.
This isn’t just about screen time or story arcs — it’s about perspective. When we see a woman on screen living her truth — boldly, honestly, without apology — we begin to believe that all women deserve that freedom in real life, too. Cinema reflects society, but it also shapes it. And Telugu cinema, with its massive reach and influence, has the power to lead the way.
Telling Women’s Stories — Authentically
To move forward, we need more women behind the camera — as writers, directors, producers, editors, and technicians. We need more actresses who choose bold, meaningful roles and speak up for better representation. Most importantly, we need to trust that audiences want stories led by women — stories that feel real, complex, and true.
Because when women tell their own stories, something changes. The characters feel more real. The emotions cut deeper. The silence carries weight. And the struggles, instead of being plot devices, become reflections of lived reality.
Telugu cinema is at a turning point. While it continues to wrestle with its past, it has already glimpsed a more inclusive future — one where female characters are not accessories, but protagonists; not ornaments, but individuals; not fantasies, but human beings.
It’s time to rewrite the narrative. Not just in film scripts, but in the mindset of the industry and its audiences. The journey has begun. Now, it’s up to all of us — filmmakers, viewers, and storytellers — to make sure the story continues.
Pragnya Komandoor is a media researcher and writer exploring the intersection of gender, regional cinema, and cultural representation.
