After a brief but notable shift in 2024, when women-led films brought international recognition and reshaped perceptions of Indian cinema, the past year saw a strong resurgence of male-centred, action-driven storytelling. Violent thrillers and hypermasculine heroes once again dominated box-office rankings and public conversation.
By the final weeks of 2025, social media discussion was largely focused on one standout title: Dhurandhar, an espionage thriller set against the backdrop of India-Pakistan tensions. Filled with graphic violence and themes of power and vengeance, the film emerged as the year’s defining commercial success, reinforcing the popularity of aggressive, male-led narratives.
This trend stood in sharp contrast to the previous year, when films such as All We Imagine As Light, Girls Will Be Girls and Laapataa Ladies drew global praise and attention to women filmmakers. According to film critic Mayank Shekhar, 2024 demonstrated that women directors in India were not peripheral voices but serious contributors to global cinema. He described that moment as a genuine breakthrough rather than a passing phase.
Expectations that this momentum would continue, however, were not met. In 2025, the top 10 box-office hits were overwhelmingly driven by male protagonists. These included large-scale productions such as the historical epic Chhaava and the action sequel War 2. The sole exception was Lokah, a Malayalam-language superhero film led by a woman, which stood apart from the dominant trend.
Male-centric storytelling extended beyond action films. Romantic dramas also reinforced traditional power dynamics, often placing troubled male characters at the centre while reducing female roles to supporting arcs. Mythological and historical spectacles similarly emphasised masculine heroism, further shaping the cultural tone of the year’s most visible releases.
One of the most debated films of 2025, Tere Ishk Mein, featured a volatile male lead and a professionally successful woman whose ambitions are overshadowed by his obsessive love. Despite criticism for glorifying toxic behaviour, the film became southern star Dhanush’s most successful Hindi-language release, generating significant global revenue. Another unexpected success, Ek Deewane Ki Deewaniyat, also drew attention for portraying an obsessive male protagonist, yet found favour with audiences.
Academics and critics caution against interpreting these trends as a simple rejection of women-led cinema. Priyanka Basu, a senior lecturer in performing arts at King’s College London, notes that Hindi cinema has long marginalised women through unequal casting, pay and creative opportunities. She argues that a single year of progress cannot overturn decades of imbalance and that sustained change requires time and consistent support.
The dominance of the macho hero has deep roots in Indian cinema, dating back to the “angry young man” archetype popularised in the 1970s. Even periods known for romantic storytelling offered only temporary alternatives before mainstream cinema returned to action-heavy narratives. This pattern has increasingly spread to streaming platforms, once viewed as spaces for more experimental and inclusive storytelling.
Data from media research firm Ormax shows that action and crime series, mostly led by men, now account for nearly half of Hindi content on streaming services. Female-led stories have declined sharply over the past three years. According to Shekhar, streaming platforms have begun to follow theatrical formulas rather than challenge them.
Industry analysts argue that commercial realities play a decisive role. Established male stars continue to attract financing, screen space and marketing support, while independent and women-driven projects struggle for visibility. Some experts also point to a broader social context, suggesting that popular cinema often mirrors prevailing power structures rather than leading cultural change.
Screenwriter Atika Chohan believes the current phase reflects exaggerated and performative misogyny, partly shaped by backlash following the MeToo movement. While the movement exposed systemic abuse within the industry, she says it did not dismantle the structures that allow such narratives to thrive.
Despite the dominance of mainstream blockbusters, signs of renewal persist on the margins. Independent and regional filmmakers continue to produce thoughtful, socially engaged cinema that explores women’s experiences with nuance and depth. Films across Telugu, Tamil and Malayalam industries, along with select streaming series, have offered alternative perspectives on relationships, identity and resistance.
According to writer Anu Singh Choudhary, this quieter movement may not command mass attention, but it remains resilient. Working outside the spotlight, these filmmakers continue to expand the boundaries of Indian storytelling, suggesting that while the mainstream may resist change, it is far from the final word.
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