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 movie was criticised for its stereotypical portrayal of Debu as a gay man. But, the beauty is that it also highlights the reversal of gender roles. The smiles, and the laughter sounding throughout the house, create a cheery note in the movie.
In the spirit of the Games, I watched the Netflix film Rising Phoenix which documents the history of the Paralympics and its impact on the world in making visible the topic of disability. It also tracks the personal and professional journey of some of the top Paralympic athletes who share their challenges, frustrations and motivations.
Indian films have for long fed into as well as mirrored social and cultural practices. Many of them depict a woman as being restricted to the kitchen and serving delicacies during festivities.
No Limits explores several themes – the struggles that athletes go through to reach their goals, the personal and professional risks they take to break records, the compromises they make and the single-minded focus required of them.
None of these characters is perfect but in their imperfections we can learn more about body positivity, gender sensitivity, privilege, consent, unconscious and implicit bias, sexuality, masculinity, their intersections with class, religion, race, age, and more.
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’.
Their inimitable personalities showcase their varied conceptions of insaaf (justice), enriching and intensifying the plot and, at the same time, reaffirming their solidarity and strengthening their unity.
By and large, society expects a woman to marry. Often people in one’s circle judge a woman if she doesn’t marry, inquiring about what could be wrong but most never assuming that it could be out of choice
This reconciliation between Pallavi’s public (seemingly) heterosexual and closeted lesbian identities points to a distinctly Indian way of avoiding polarities through a new social arrangement where both identities are allowed the space to flourish.
The story is so well told and is written with such a light, deft hand that it is almost easy to miss what makes it so quietly radical. To review it within the scope of exploring the coming together of literature and sexuality we must begin with its central cast of characters – the widows.
Much like any good erotic encounter, Balli Kaur Jaswals’ 2017 novel, Erotic Stories for Punjabi Widows, is a delightful romp that comes to a satisfying, sweet climax and an urge to fall back on the pillows.
Puu, an episodic comic (consisting of 92 serialised episodes) created in 2016 by Nabigal-Nayagam Haider Ali – going by Nabi online – is woven together with vast, expansive threads of similar intense spiritual moments and reflections on devotion, faith, and love.