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bollywood

Kaali Kaali Aankhein

by Guest Author 08/12/2024

written by Guest Author

By Moesha Jain

Cinema has been one of the primary factors of what constitutes Indian culture for time immemorial. It’s one of the most beautiful forms of artistic expression and has remained consistent defining how to lead the ideal life, no short of the Indian dream. Whether it is the Karan Johar cinematic universe with designer clothing or the Sanjay Leela Bhansali architecture, separating fictitious beauty and fantasy from reality is often an alienated concept to the dreamy glints of the audience’s eyes but the magic starts to fade when we realize that cinema has been a breeding ground for plagues such as sexual objectification and harassment, here’s how-

Name some of the most popular Bollywood films- your guesses could’ve been ‘Dilwale dulhaniya le jaayenge’, ‘Maine Pyaar Kiya or ‘Devdas’, on thinking and analyzing you realize they follow a pattern- the woman in all these films have little to no authority or agency, they’re depicted as do-good-angels which isn’t necessarily wrong till it becomes a trope that the extensive audience of India consumes unapologetically.

The music industry too has a humungous unaddressed problem that is item-songs, the very term indicates it aims to talk about an object rather than a person. The issue is not even closely related to sexual expression rather it is catering to a specific gender for the film to better and completely demoralizing the other gender in the process.

These issues come under the umbrella topics of what is called the male gaze.

What is the male gaze?

Film theorist, Laura Mulvey, was the first to coin the term “male gaze” in her acclaimed essay- “Visual pleasure and narrative cinema”. The male gaze is a way of filmmaking that involves empowering the heterosexual man negatively by capturing women as mere sexual objects rather than complete people with their own personality traits. The male gaze in Hindi cinema does not restrict itself to item numbers, it’s also designing female characters that revolve around pleasing the man more often than having her own aspirations or even feelings in most cases. The classic damsel in distress being rescued by the hero is a defining trope born out of the male gaze and the need to make the male audience feel more in control of everything around them.

The conditioning is a two-way lane- as much as these films make the male audience more condescending, it also brainwashes women into being more submissive and less independent as their entire lives they’ve been led to believe that they need male validation in order to be sure of themselves and that without it they aren’t making enough impact.

The Female film revolution

The aspect of the male gaze has been pondered about by a variety of film theorists who do not limit themselves to a specific part of the globe. This process of thought-provoking articles and much-needed debates led to the discovery of the female gaze. The female gaze does not necessarily rob a woman of sexual expression rather it gives more justification to her actions, more thought to her decisions, and requires the writers to put in equal work for writing women characters.

More South-Asian directors such as Mira Nair, Alankrita Srivastava, and Iram Haq have created films nothing short of revolutions in themselves. Such is Alankrita Srivastava’s much-acclaimed film ‘Lipstick under my burkha’ that has opened the Indian film industry to a new spectrum with horizons beyond believing and is a must-watch for any person who believes they can be entertained whilst still being provoked to think.

Ultimately good art only requires one constituent which is provoking thought and as long as we as an audience don’t educate ourselves about the media we consume and unlearn what years of patriarchy have led us to believe entertainment is, it’s safe to say we are unlikely to grow.

08/12/2024 0 comments 40 views

Mimi: Bringing back the debate on Surrogacy

by Guest Author 08/12/2024

written by Guest Author

Anuj Dahiya

Kriti Sanon and Pankaj Tripathi starrer film, Mimi is the latest attempt by Bollywood to bring the taboo topic of surrogacy back in the mainstream (last being Chori Chori Chupke Chupke 2001). The film showcases the story of Mimi, played by Kriti giving her career best performance, who wishes to become a heroine in Mumbai and for which she is saving money. It is through a typical dance number (Bikaner ki chokri, Santre ki tokri) when an American couple wandering in India for over a year, John and Summer, the intended parents, see in Mimi a potential surrogate mother. Bhanu played by the enigmatic Pankaj Tripathi, plays the broker in here and convinces Mimi to be a surrogate and get compensated in return. Considering the huge money prospects involved, she agrees to it without much delay. The film is set in a small town of Rajasthan in the year 2013. The twist comes when the American couple abandons Mimi and the baby in womb in between and our surrogate Mimi is left all by herself. This tragic turn of events has been the harsh realities for many in India.

Legalised in 2002, India has become a hub of commercial surrogacy, so much that it has been called a baby factory. Commercial surrogacy is legal in Russia, Ukraine and some States of the USA, but considering the cheaper costs, India becomes a preferable destination. A report estimates it to be worth more than $400, but the ethics of the practice has been largely questioned.

As in Mimi, the reference of khet, ganna, beej to the commercial surrogacy, the practise has led to the commodification of reproductive labour and women’s body. It is accused of treating the child as a good, reproduction as a service to be traded and establishing control over women’s bodies. Commercial surrogacy is likened to organ sale rackets. There is also power dynamics involved where the rich try to rent the womb for themselves, the surrogates coming from the lowest economic rungs of society. Coming out of dire property, their consent to be surrogates can hardly be called informed. It is coercive since refusal is mostly difficult. Also, in majority of the cases, they are illiterate and barely get a copy of the contract signed. The broker keeps a major chunk of the compensation.

The commercial surrogacy in India has largely flourished because of absence of regulations and red-tapism. Come 2014 and the NDA government comes up with Surrogacy (Regulation) Bill which intended to ban commercial surrogacies over night. It allowed only altruistic surrogacy from close family members which would cover medical expenses and insurance and will be limited to Indian heterosexual and infertile couples, having completed five years of marriage. This bill was passed by Lok Sabha in 2015 but could not steer through the upper house of parliament and was therefore, referred to a select committee. The Select Committee headed by Bhupendra Yadav, after consulting various stakeholders suggested that widows and divorced women be included, the five year marriage and infertility clause be removed from the bill. The bill accepting the recommendations is still pending in the Parliament.

But the bill has its share of shortcomings even now. It falls short of taking into account the rights of live-in couples and LGBTQ community who wish to start a family beyond the traditional nation of parents. The community has started to get legal recognition in India and their rights need to be protected. Further the interests of surrogates have also been ignored as banning surrogacy straight away leaves them out of economic opportunities and their chance to improve their lot. As Dr Patel of Akanksha Hospital, Anand, Gujarat says, Banning is never the solution. The ban will give rise to an underground market for surrogacy which will only worsen the situation for poor women.

The movie in the end strikes the right chords by focusing on adoption as a viable option. As it is conveyed, “If the orphaned children were to be a country, it would be the 7th largest in the world.” You can watch Mimi on Netflix and Jio Cinemas.

Anuj Dahiya

A student of Political Science

Instagram: @anuj__dahiya

Twiter: @unujdahiya

08/12/2024 0 comments 41 views

Censorship And Cinematograph Act of India – Will The Hammer Stop?

by Guest Author 08/12/2024

written by Guest Author

By Kanika Bhatia

A very hardened rule of any right wing political government lives upto to the hammer analogy. If all you have is a hammer, everything looks like a nail problem. The hammer, every strong armed government possesses is -censorship.

Unless you’re living under a rock, you have heard about the Cinematographer Amendment Bill, 2021. The new draft proposes to amend the Cinematograph Act of 1952 with provisions that will give the Centre “revisionary powers” and enable it to “re-examine” films already cleared by the Central Board of Film Certification (CBFC). It empowers the Centre to revoke a certificate granted to a film by the Central Board of Film Certification (CBFC), if it is found to violate Section 5 B (1) of the Cinematograph Act, 1952, which discourages certifying a film that is “against the interests of the sovereignty and integrity of India, the security of the state, friendly relations with foreign States, public order, decency or morality, or involves defamation or contempt of court or is likely to incite the commission of any offence. In layperson terms, it allows the State to revisit certification already guaranteed to a film, truncating its existence. It gives the state absolute control, especially after the abolition of Film Certificate Appellate Tribunal which was the last place of appeal for filmmakers.

Termed as “super censor” by filmmaker Adoor Gopalkrishnan, the proposed draft raised questions and understated fury amongst the film fraternity. Nearly every big wig took to Twitter, leveraging their fellow directors and actors to raise support against it. Of course, like any bill, there are parts of it which either draw no or milder reactions. The draft Bill also includes provisions to penalise film piracy with jail term and fine, and introduce age-based certification. Currently, films are certified into three categories — ‘U’ for unrestricted public exhibition; ‘U/A’ that requires parental guidance for children under 12; and ‘A’ for adult films. The new draft proposes to divide the categories into further age-based groups: U/A 7+, U/A 13+ and U/A 16+. Somehow this age classification mirrors the intent behind the new IT rules announced in February this year: infantilising of the citizenry.

Censorship works on a basic belief system of the state, viz. ‘we know what is best for you’. It’s the state managed form of age old patriarchy, if I may stretch a tad bit. It’s based on the belief that citizens have no premise on how to decide what to consume in data. Anything can stir emotions against the ruling regime (whichever it maybe), and hence censorship remains an ideal way to propagate ‘control’. A very interesting article by LiveMint from 2018, titled “100 years of film censorship in India” discusses how narratives were controlled in different time periods based on different ideologies that were ruling at varied times. Whether it was the British who were vary of nationalistic themes in Indian movies; Amrit Nahata’s ‘Kissa Kursi Ka’ which stirred sensitivity amongst Congress leaders who eventually publicly burnt reels of the same; or modern day Padmavat which made a particular community sore. India is a country where offence taking is synonymous to religious and political ideologies – i.e. if you have one. If you don’t, a right wing form of art might offend some liberals, you can never say. Post emergency, revival of stifled art of that period was hoped for by Janta Party that came to power. However, no such thing happened because censorship is any governments strongest weapon.

However, is democracy really under attack with this proposed bill? Shyam Benegal begs to differ. “If a film is given a certificate, does it mean that it is forever,” he said in an interview. He believes cinema needs to adapt to changing times, and some movies will be redundant when they don’t adhere. The bill also faced criticism as it bypassed a basic law regarding bills. Any bill proposed should offer thirty mandatory days for public consultation. A mere 14 days till July 2nd were offered on the same. This authoritarian discrepancy in basic protocols is also brought into question when consulting the abrupt censorship we have seen since 2014, in nearly every sphere. Recently, Italy removed its 108 year old law on censorship because they believed they have advanced as a society to accept that censorship goes against the basic tenets of Democracy.

Resonating thoughts of the industry at large, an open letter written by 1400 filmmakers, including the likes of Shabana Azmi, Anurag Kashyap, Farhan Akhtar and others, has been addressed to the government demanding a withdrawal of this bill. The fate of the Bill remains in question as of now.

To close, here’s where I think I would leave you. With questions, like any good citizen. What is the end goal and where does it end? Is our citizenry so incapable of self-regulating and deciphering art that State control becomes imperative? For a government that proclaims to be pro-democracy, where does censorship and control on art lie on the scale of zero to masked dictatorship? Will filmmakers bank on International film festivals and OTT platforms to release their work? Is candy floss films the future of India’s large movie bank? And lastly, is it possible, at all, that released and approved cinema ahead of this bill being passed, will gain more renown in India and abroad once it passes the baton of our cultural gatekeepers? Because to quote Federico Fellini, a renowned director from Italy, “Censorship is advertising paid by the government.”

Image Courtesy: Racolblegal

08/12/2024 0 comments 19 views

Top 10 Women-Oriented Hindi Movies That Gave A New Dimension To The Indian Cinema

by Guest Author 08/12/2024

written by Guest Author

By Intekhab Hassan

It is always said that Indian cinema is a male dominated industry where movies are made keeping in mind the role of male actors. They are considered as revenue grossers. To be brute honest I agree with this prevailing perception because ultimately cinema is made for the viewers and these viewers themselves come from the patriarchic society. These viewers are in general influenced by the politics, economic structure, the culture and the wide perception about the women in the society. But aforesaid facts or perception cannot undermine the contribution of women’s participation in the evolution of Indian cinema.

At a time when women working in the cinema was considered no less than a sin or taboo, actresses like Devika Rani, Shobhna Samarth, Zubaida in early 1930’s entered into movie business and changed its face forever. It was the legendary Devika Rani, co-founder of famous Bombay Talkies and a powerful actress herself who gave India’s own Marlon Brando to Bollywood in the form of Dilip Kumar. It may be unbelievable for some to know that she gave Hindi cinema’s first kissing scene way back in 1931. Zubaida the daughter of an affluent nawab family gave Hindi cinema its first talkative film “Alam Ara”. These actresses paved the way for young generation females to enter into the world of Cinema to showcase their powerhouse talent.

As a result new generation actresses like Meena Kumari, Suraiya, Madhubala, Waheeda Rahman, Nargis got an opportunity to redefine the Indian cinema by marking the importance of women in the movies. Time and again these actresses have seldom let down the audience, the society and the cinema industry whenever movies are made keeping in mind the women centric roles. After viewing many movies here is my pick of top 10 Hindi Movies where the leading actresses have set a benchmark for the otherwise male dominated film industry by their powerful performances and made these movies as forever Classics.

1) Mother India (1957) : This movie is no 1 in my list. Mother India is a path breaking classic film of Indian cinema coming from very early years of Bollywood. Nargis Dutt as Radha did an iconic performance that would be remembered by generations after generations. It’s a story of Radha’s sacrifice for integrity, her fight against all odds in the society, her firm believe in truth, justice and equity. Mother India was nominated for the Academy Award for best International film in 1958 thus becoming first Indian film to be nominated for Oscars.

2) Sahib Bibi Aur Ghulam (1962) : Undoubtedly one of the best classic movie of Indian cinema. Expertly-crafted, aesthetically breath-taking and profoundly disturbing. It was way ahead of its time. The movie exposed the ugly reality, hypocrisy and degeneration prevalent in the patriarchic Zamindar Families of pre-independence Bengal. Mina kumari as an alcoholic ‘Choti Bahu’ has literally immortalized her role, which till today remains one of the best performances in the Indian Cinema. All that the lonely, sad choti bahu wants is to be loved and cherished which was against the set norms of patriarchal feudal society.

3) Bandini (1963) : Another classic movie by the legendary Bimal Roy. Like most of the Bimal Roy movies, Bandini is a women-centric, feminist one, based on a Bengali novel. Nutan as Kalyani is a jilted lover who murders her lover’s wife and is subsequently wracked with guilt, remorse and anger. With a broken heart, she gets ready to face any punishment to achieve atonement. Nutan dominates the film with her elegant, demure powerful performance. Bandini is the story of travesty of many shades of a suffering woman that can have resonance with most of the women in our Society.

4) Pakeezah ( 1972) : I call this movie a magnum-opus, a movie whose making started in mid 1950’s and was finally released in 1972. The legendary tragedy queen Meena Kumari has made this film an ever classic. There are some movies whose name instantly brings to mind just one actor of that movie who becomes synonym with it, and Meena Kumari in Pakeezah is among those league of extraordinary actors. The tragic story of a courtesen Mehjbeen has been immortalized by the Meena Kumari. Ironically just one month after the release of Pakeezah Meena Kumari died a tragic death.

5) Sujata (1959): Sujata is another classic master-piece by Bimal Roy along with Nutan. Nutan as Sujata is an un-touchable orphan brought up by an educated middle class Brahmin Family. While growing up Sujata falls in love with Aseer, a brahmin boy. Sujata depicts the prevailing rigid caste system in the society, B.R Ambedkar’s fight against untouchability and the social dogmas for an upper caste boy to love a lower caste girl. Nutan with her powerful performance has kept alive the character of Sujata still relevant in the Indian Society.

6) Aandhi (1975) : Loosely inspired from the life of India’s former prime minister Indira Gandhi, Aandhi is considered as a classic movie. Legendary bengali actress Suchitra Sen essayed the role of Aarti Devi a leading politician of the country. The plot of the movie is about love story of a hotel manager and the daughter of a prominent politician. They got married and later on they get separated due to their mutual differences. Years later they meet again when she is an established politician. The film looks at the life of Suchitra Sen as Aarti Devi a career minded women in the political arena, which is largely dominated by men.

7) Umrao Jaan (1981) : Just like Meena Kumari in Pakeezah, Rekha in Umarao Jaan is synonym to this movie. Rekha as Umarao Jaan personified the role and brought this movie into the list of classic cinema.

8) Arth (1982) : The Story of a husband, a wife and the ‘other woman’ have been explored earlier too in the Indian cinema but what sets Arth apart is the layered, complex characterisation of the three principal characters, Shabana Azmi as Pooja, Kulbhushan Kharbanda as Inder Malhotra and Smita Patil as Kavita. Both Shabana Azmi and Smita Patil are phenomenal in the movie but there’s one person who owns Arth and makes it the memorable picture it is today. Yes, it is Pooja as Shabana Azmi, who delivers one of the finest performances of the Indian cinema.

9) Mirch Masala ( 1987) : It tells the story of a beautiful confident woman – Sonbai played by Smita Patil who is sought after by a subedar, the tax collector. She continuously resists his advances and ends up hiding in a spice factory as the subedar doesn’t intend to take her rejection of him. Thematically, the film deals with resistance to colonial oppression, with the subedar serving as the symbol of British colonialism and Sonbai representing the ordinary Indian woman who has the courage to stand against the oppression. She is an inspiration for every women to fight against injustice and to save their modesty. On the centenary of Indian cinema in April 2013, Forbes included Smita Patil’s performance in the film on its list, “25 Greatest Acting Performances of Indian Cinema”.

10) Chandini Bar (2001) : The Story of Mumtaz, a bar dancer played by Tabbu depicts the lives of several women who either due to the poverty or other compulsions join this underbelly profession. The performance of Tabbu in the movie gives a reality check about the sufferings and apathy of women in the society. The acting of Tabu has set a benchmark for next generation of actresses.

It was very difficult for me to pick up top 10 out of several good movies. The list doesn’t end here. But these are my favourite movies where actresses have outshined all male actors with their sheer performance. With their excellent crafty acting these movies are among the league of Classical Cinema.

Writer is a lawyer by profession and an avid movie watcher by passion.

08/12/2024 0 comments 37 views

‘Sherni’ – Movie Review : The Story Of Every Woman

by Guest Author 08/12/2024

written by Guest Author

By Intekhab Hassan

Development has led to rapid urbanization and industrialization and has also resulted into diversion of forest land for non-forest purposes. This has led to shrinking of wildlife habitat which results in animals straying out of habitat in search of food, water or shelter bringing them into Humans versus Animals conflict. This poses a serious question to the society “Can Development and Environment go hand-in-hand?”

Coming to the movie “Sherni” – we are introduced to India’s wild spaces, which face seemingly unstoppable threats from poaching, deforestation and overgrazing. But simultaneously there are communities residing in forests as forests-dwellers for generations, who are dependent on minor-forest products for their livelihood.

As the movie name suggests, the movie has two “Sherni” in it; first the tigress T12 and second Vidya Balan as Vidya Vincent. The story revolves around the search and rehabilitation of T12, a tigress and than the politics, official apathy and lacklustre system involved in it.

It is very pertinent here to analyse and review the role of Vidya Balan because she is the second “Sherni” in the movie. Vidya Balan plays Divisional Forest Officer Vidya Vincent, in the film. Her story is the story of every Indian woman who indeed are Shernis’. A few of them are outspoken and extrovert while others are introvert just like Vidya Vincent. Not all shernis roar in real life, rather their work and action speaks louder than words. Vidya is a woman of few words but full of self-determination and decision making ability.

It’s not an easy thing to portray a role which is generally a male dominated one, both in real and reel world. But she has done it very convincingly and emphatically. Vidya, an upright officer is yarning the brutal barriers set by the patriarchal society for a married woman and lackadaisical attitude of people at her work place. The character of Vidya portrays the daily struggle, the fight, the fall and the rise of every woman.

Director Amit Masurkar had earlier made a simple yet hard-hitting 2017 film Newton – starring Rajkummar Rao. In ‘Sherni’ too the director has done a thorough microscopic research at ground level and presented it in a simple, subtle but thought provoking manner. From first scene to the last one he has a complete grip over the movie and that translates into a consumed audience.

Cinematography is very fine and made in a documentary-style realism on the ground and drone shots from above. It presents a romantic view of the dense, green jungles – sunshine, streams, buzzing of insects, rustling of leaves, distinct sounds of birds and animals.

The screenplay is meticulously detailed, giving an insight into not just the protagonist’s mind but also the workings of the department as well as how the village and the forest are intermingled in their existence.

If you are expecting regular bollywood dramatic twists and turns, melodrama, glamour of the jungle and forest officers’ lives than this movie is not for you. The movie has limited dialogues and no artificial thrill-adventure. The silence and the camera lenses speak in volume about the condition of forest, its conservation, human greed and hurdles for an upright officer.

The “Sherni” shows that women have achieved it all and done so while fighting societal prejudice and taboos. It’s an ode to the millions of the women who want to get rid of iron cage, want to fly, set up their own path and make an impact in the society, sometimes even without making any noise. If you belong to the genre of simple, realistic and message giving movie than this is a must watch.

I will give it 4/5 rating.

08/12/2024 0 comments 48 views

Chloe Zhao makes history by becoming the first Asian woman to win Best Director at the Oscars

by Ashmi Sheth 08/12/2024

written by Ashmi Sheth

Ashmi Sheth

On Sunday night, the 93^rd Academy Awards ceremony was attended only by nominees, owing to the COVID-19 norms in place. The Los Angeles Union Station was the main set piece for the show, and attendees rotated in and out of the ceremony to limit the number of people gathered at a time. Filmmaker Chloe Zhao scripted history by becoming the first woman of color to win the best director award and only the second woman to win in the category. Zhao won the award for her intriguing drama, “Nomadland,” about a woman in her sixties, who embarks on a journey through the American West, living as a van-dwelling modern-day nomad after losing her job in the Great Recession (IMDB). The movie also bagged the Best Picture Award as well as Best Actress for Frances McDormand. Zhao becomes the second woman ever to win a directing Oscar, more than a decade after Katheryn Bigelow for her 2009 Iraq War drama, “The Hurt Locker.” In its 93-year-history, the Academy Awards have witnessed only seven women nominations for best director, and Zhao is the first woman of color to even be nominated in the category.

The nominees list for the 93^rd Academy Awards also created history with its diversity and several other women winners will be remembered as part of history. Ann Roth won the Best Costume Design award for Ma Rainey’s “Black Bottom” and became the oldest woman to win an Oscar. South Korean actress, Youn Yu-jung became the first Korean actor to win an Oscar as she was awarded Best Supporting Actress for the film “Minari.” Emerald Fennel became the first woman in 13 years to win the Best Original Screenplay Oscar. Mia Neal and Jamika Wilson are the first Black women to receive a nomination for best makeup and hairstyling, and now, first to win. Indian celebrities Irrfan Khan, Rishi Kapoor and the first Indian to win an Oscar for Best Costume, Bhanu Athaiya, were honoured in the “In Memoriam” segment at the 93^rd Academy Awards.

08/12/2024 0 comments 23 views

Get To Know Jerick Hoffer – or Jinkx Monsoon on ‘Their’ B’day!

by Guest Author 08/12/2024

written by Guest Author

Have you met a person who identifies as non-gendered or non-binary? Meet Jerick Hoffer, more famously known by the stage name Jinkx Monsoon, who is an American drag performer, actor, comedian, singer.

In an April 2017 interview, Hoffer stated, “I’ve never identified as fully male. I’ve always identified as more gender fluid or gender ambiguous, but I never knew the vocabulary to explain it for myself.” Hoffer identifies as “non-gendered” or non-binary, and goes by singular ‘they’ pronouns when not in drag.

Born on 18^th September, 1987, in Portland, Oregon, their first performance in drag was at the age of 16 years. They worked as a janitor during college, and graduated with a BFA in theater from Cornish College of the Arts in 2010. They then settled in Seattle, Washington.

Their most famous appearance was in season five on Ru Paul’s Drag Race, and Ru Paul describes Jinkx as “a stage left, off center kind of quality.”

So how did Jerick Hoffer become Jinkx Monsoon? In their own words – “From the movie ‘Death Becomes Her’ I was inspired by the crazy extent vain women will go for eternal youth, beauty, and power,” Hoffer explains. “Through Lucille Ball I saw how a woman can bring you to tears with laughter with nothing more than a look. Through the Disney villains I was raised with, I saw how powerful a woman can be, and yet so deliciously evil. And through my mom, I saw not only the trials and tribulations a single mother faces every day, but also the strength and determination a woman can possess when she is trying to provide a bright future for her children.”

As early as 2006, Hoffer appeared as the lead dancer in the world’s largest drag queen chorus line, which made the Guinness Book of World Records. By 2012, he had advanced to roles in Seattle theaters, playing Moritz in “Spring Awakening” (produced by Balagan Theatre) and Angel in “RENT” (produced by The 5th Avenue Theatre). In 2013, Hoffer played Hedwig in “Hedwig and the Angry Inch” (produced by Balagan Theatre and Seattle Theatre Group). A trained singer, Hoffer is half of the musical duo The Vaudevillians, a 1920s revival act.

The Jinkx Monsoon personality is a manifestation of years of practice, a career endeavor that began when Hoffer was fifteen. “She is definitely a zany, off the wall, irreverent, gorgeous anachronism,” Hoffer adds. “She simply refuses to let her audience sit idol; she is a powerhouse of song and comedy, igniting her audiences in a frenzy of laughter and sexual tension.”

Now they are quite a powerhouse – ain’t they? And while we adjust to referring a person as ‘they’, we also thank Jerick Hoffer for helping us challenge our own binaries of viewing the world, while we wish her – a very happy birthday!

Their website : https://jinkxmonsoon.com/

08/12/2024 0 comments 33 views

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bollywood

Kaali Kaali Aankhein

Mimi: Bringing back the debate on Surrogacy

Censorship And Cinematograph Act of India – Will The Hammer Stop?

Top 10 Women-Oriented Hindi Movies That Gave A New Dimension To The Indian Cinema

‘Sherni’ – Movie Review : The Story Of Every Woman

Chloe Zhao makes history by becoming the first Asian woman to win Best Director at the Oscars

Get To Know Jerick Hoffer – or Jinkx Monsoon on ‘Their’ B’day!

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