Can this Powerful Film Directed by Kiran Rao Ignite a New Wave of Women-Led Stories from India?
Despite Bollywood’s global recognition, India’s presence at the Oscars has been surprisingly minimal.
With only three Indian entries ever nominated in the Best International Film category and none having won, it’s a stark contrast to the vibrant storytelling that emerges from the region.
Kiran Rao’s Lost Ladies seeks to alter this dynamic by representing not just India, but the broader cultural shift in South Asian cinema—a shift that centres women’s stories and challenges patriarchal norms.
“South Asian films haven’t seen as much in terms of representation at the Oscars,” says Kiran, acknowledging that despite hits like Parasite and Malaysia’s Michelle Yeoh’s historic Best Actress win, the Academy’s recognition of South Asian cinema remains limited.
A Story of Lost and Found Women
Set in rural India, Lost Ladies tells the story of two young brides who are mistakenly swapped by their veiled husbands, a comedic yet poignant take on identity and societal expectations.
This narrative, though laced with humour, speaks to deeper issues of women’s agency, exploring not only their physical journey home but also their metaphorical journey toward self-discovery and empowerment.
As Kiran explains, the film’s power lies in its ability to tackle patriarchal structures gently and inclusively.
“It doesn’t pass judgment on women’s choices but invites viewers to reflect on the ways these choices are shaped by society,” she said.
The story strikes a universal chord, addressing issues of agency, identity, and the everyday struggles of women.
Women Behind the Camera: A Growing Movement
Kiran’s involvement in Lagaan, which earned India’s last Oscar nomination in 2001, underscores her familiarity with the international stage.
Yet, this time, her mission is different.
With Lost Ladies, she’s pushing for more representation not just for South Asian stories, but specifically for those told by women.
“Women’s stories need to be seen more. Women directors need a lot more encouragement,” Kiran emphasises, pointing out that in seven decades of India’s Oscar submissions, less than a dozen women have been at the helm.
Her film is part of a broader movement.
Payal Kapadia’s All We Imagine as Light recently clinched the Grand Prix atCannes, and the UK’s Oscar entry, Santosh, is directed by British-Indian filmmaker Sandhya Suri.
Kiran sees this as a “special moment” for women filmmakers of South Asian origin.
“Our time has come, and I hope it’s the start of a wave of many more stories from India by women.”
A Ripple of Change for Women Everywhere
Beyond the Oscar race, Lost Ladies is more than a cinematic offering—it’s a tool for social outreach.
Kiran has taken the film into rural communities where women might not otherwise have access to cinemas.
Here, storytelling serves a greater purpose, sparking conversations about change.
“Storytelling can open that little window of perception,” Kiran says, “changing very old mindsets with sometimes just a small question or a small decision.”
The global recognition of Lost Ladies would not only mark a pivotal moment for Indian cinema but also for the broader narrative around women’s empowerment.
As more women like Kiran, Suri, and Kapadia step into the spotlight, they illuminate the untold stories of women everywhere, offering the world a fresh perspective on issues of identity, agency, and social change.
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