Latest news with #InTransit
Time of India
5 days ago
- Entertainment
- Time of India
When stories heal: How queer cinema is rewriting real-life narratives
Queer cinema For Aryan, a clinical psychologist in Reema Kagti's docu-series In Transit, the awareness that he's a trans-man came from watching the popular TV show Hum Paanch (1995-2006). For him, Kajal bhai was the first indication that a woman could identify as a man. "I am so grateful to whoever thought of that character because otherwise, I would not have got that confidence that this is possible," he says. This quiet moment is a powerful reminder of how films and television can reflect and reshape the world we live in. Queer representation in Indian cinema has come a long way, echoing the shifts in public perception, raising awareness, and the growing assertion of LGBTQIA+ identities. From being reduced to the butt of jokes to finally being heard, Indian cinema's journey toward queer representation is not just creative progress - it's a lifeline for many. 'Negative portrayals have reduced' 'What has definitely changed is that negative portrayals have reduced. A film like Dostana would face major backlash today,' says queer digital content creator Prarthana Prasad. 'Positive portrayals are just beginning.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 21st Century Skills Start with Confident Communication Planet Spark Learn More Undo Films such as Ek Ladki Ko Dekha Toh Aisa Laga, Kaathal: The Core, and Aligarh have moved away from mockery and stereotypes, offering layered characters and sensitive storytelling. OTT platforms, in particular, have played a pivotal role. Jyothika-Mammootty's Kaathal: The Core placed LGBTQ+ narratives front and centre. 'Ek Ladki Ko... made a difference to a lot of people's lives," says its writer and trans-woman Ghazal Dhaliwal. "There was an Indo-American girl whose father hadn't spoken to her for eight years after she came out to him. He watched the film and reconnected with her. That message made it all worthwhile." Kalki Koechlin received a similar response for her film Margarita with a Straw, which portrayed a bisexual woman with cerebral palsy. "So many people I know came after the screening and told us how they brought their mum or their dad and explained that they were queer," she said in an interview. 'Cinema is a great tool to begin the dialogue' 'If you show a 16-year-old struggling with their sexuality, or a queer character who becomes a famous painter or Prime Minister — that could be the one reason they don't kill themselves. Cinema has that power,' says Vidur Sethi, who uses they/them pronouns and plays the lead in Onir's recent gay love story Pine Cone. Beyond emotional resonance, films can also serve as conversation starters at home. Prarthana Prasad adds, 'A few queer people told me they used films as a way to start a conversation with their parents. It's a great tool to begin that dialogue.' Filmmaker Sridhar Rangayan echoes this, recalling the impact of his 2019 film Evening Shadows, which follows a young man coming out to his mother in rural India. 'That became a sort of guidebook for mothers to understand their child,' he says. 'We received thousands of messages from across India, and also across the world, from both parents and LGBTQ+ children about how the film helped them navigate their coming out journeys. ' A still from Made In Heaven. Zoya Akhtar and Reema Kagti's Made in Heaven drove home the message that there is nothing wrong in being gay. In one of the most powerful moments, the gay protagonist, Karan's landlord is confronted by his daughter, Mitali, who finds out he installed a spy camera in Karan's bedroom. Standing up for Karan, she tells her father, 'It's normal. There's nothing disgusting about being gay.' Representation also gains strength when backed by nuanced performances. Nilakshi Roy, a member of the queer parent group Sweekar: The Rainbow Parents, points to Konkona Sensharma in Geeli Puchhi and Mammootty in Kaathal: The Core as standout examples. 'It was done in a restrained, mature, magnificent way - the way such stories deserve to be told. A powerful, dignified portrayal. It's not just about the story being mainstream, but about a mainstream actor playing a queer role. That, too, is a very positive thing.' Let alone whether it's good or bad to be gay or lesbian—at least now people know the concept exists. That itself is a positive change. -Prarthana Prasad Since the landmark 2018 Supreme Court verdict that decriminalised homosexuality by reading down Section 377 of the Indian Penal Code, there has been a rise in queer stories in Indian cinema and streaming platforms. Films like Ek Ladki Ko Dekha Toh Aisa Laga (2019), Shubh Mangal Zyada Saavdhan (2020), Chandigarh Kare Aashiqui (2021), and Badhaai Do (2022) have placed LGBTQ+ narratives front and centre. The shift has been even more visible on OTT platforms. Shows like Made in Heaven, Mismatched, The Royals, Class, and Modern Love Mumbai have included complex, emotionally layered queer characters. 'We need more space behind the camera' Queer digital content creator Prarthana Prasad shares, 'A few queer people told me they used films as a way to start a conversation with their parents. It's a great tool to begin that dialogue.' Vidur notes, "More and more queer people are coming into films," and that space is being created bit by bit, though "there's a long way to go." While queer actors like Ivanka Das (Bombay Begums), Trinetra Haldar (Made In Heaven), Lauren Robinson (Mismatched), and Sushant Divgikar are redefining what it means to be 'seen' on screen, there are also dedicated efforts to amplify queer voices behind the camera. Meaningful change requires looking behind the screen Monika Shergill, Vice-President, Content, Netflix India 'Meaningful change also requires looking behind the screen,' says Monika Shergill, Vice-President, Content, Netflix India. "When queer stories are told—whether at the centre or woven into the backdrop of a larger world—they begin to mirror the diversity of real life. That resonance has an effect: it prompts reflection, starts conversations, and over time, helps shift how people perceive one another," she adds. QueerFrames, launched in 2023 by The Queer Muslim Project with support from the Netflix Fund for Creative Equity, is one of the few dedicated creative incubators for queer storytellers across South Asia. Monika Shergill, Vice-President, Content, Netflix Shergill, Vice-President, Content, Netflix India believes "authentic stories come from authentic spaces." 'Initiatives like Queer Frames, our screenwriting lab for underrepresented queer storytellers, and Voices of Tomorrow, which brings LGBTQIA+ talent into India's dubbing and voice landscape, are part of that effort. We believe authentic stories come from authentic spaces,' adds Monika. 'Let queer people tell their own stories' As queer characters begin to find space in Indian cinema, a growing call within the community is for space to be extended behind the scenes - where stories are conceived, written, and crafted. Representation alone isn't enough, many believe. 'They should let queer people tell their own stories,' says Prasad. 'Representation is there, but it needs to get better.' Sushant Divgikar, actor and drag performer, points out that it's not just about who we see on screen, but who is shaping what we see. "You need more queer directors, producers, writers, cinematographers who understand the intricacies in detail.' Sushant Divgikar says, "A trans person should be allowed to play a man, woman, trans, a tree, a sofa. Anything. An actor is an actor." Casting, too, is often limiting, and Sushant challenges this mindset with a characteristic clarity, 'A trans person should be allowed to play a man, woman, trans, a tree, a sofa. Anything. An actor is an actor.' The consensus is clear: visibility must come with agency. Only then can queer stories truly reflect the complexity and dignity of the lives they aim to portray. Queer stories have just begun to shine-please let the rainbows rise and glow - Sridhar Rangayan, queer filmmaker & activist 'A lot of queer storytelling is still about pain and trauma' As queer narratives find more space on Indian screens, people from the community are asking: why are most of these stories still steeped in pain? 'If you always show the most sad and difficult sides of queer life, it might be realistic—but not inspiring,' says Prarthana. 'We need to move beyond just coming-out stories and tortured love angles.' Actor Vidur Sethi plays the lead role in Onir's Pine Cone. Vidur Sethi agrees. They want to see queer characters being celebrated not for their pain, but for their potential. 'I don't want to only see trauma. I want to see a queer person be intelligent, successful, have a career, and juggle personal life—just like any other human.' Sushant Divgikar is even more direct, "Please stop with all these love stories. Let's see stories where a trans person becomes an inspector, a doctor, a lawyer. That's what we need—empowering stories.'
Hindustan Times
18-06-2025
- Entertainment
- Hindustan Times
In Transit review: A sensitively told docuseries on transgender experience in India
What does it mean to be visibly trans in India? There's no whataboutery about the fact that India is still largely homophobic; one look at the cases of violence on the LGBTQ+ community is enough to show why. The new four-part docuseries, backed by Zoya Akhtar and Reema Kagti's Tiger Baby Films, attempts to bring together stories of nine transgender individuals across India as they share their lives, hearts, and hopes. It is a vital, sensitively drawn-out portrait of the challenges faced by the trans community in modern India. (Also read: Sabar Bonda review: First-ever Marathi film at Sundance is a tender, deeply moving study of queer love in rural India) Zoya Akhtar and Reema Kagti had previously cast trans actor Trinetra Haldar Gummaraju in the second season of Made in Heaven for the new addition to the show, Meher. That character was in a supporting role, adding to the drama and resolving the chaos around the main plot. From there to In Transit, the resolve to showcase the trans community authentically is a noble effort. In Transit is curious but in a careful manner, where the camera is but a medium for these individuals to share their experiences with complete trust. That confidence shows in the way Archana Ghangrekar places the camera and views these people, and in the conviction with which director Ayesha Sood draws out their life stories with a degree of vulnerability. There is a beautiful moment where Aryan speaks about his desire for a 'connection'. It arrives after Aryan has shared the story of transition, where the viewer can see the journey he has been through. Another particularly indelible revelation arrives when Rumi, a trans man and a trained classical singer, talks about the difficult relationship with his mother. When he gradually comes to know why his mother, who was a sculptor, behaved the way she did, it becomes an extraordinary moment of surrender and reconciliation. I had shivers all over my body when that moment arrived. Gender and sexual identity are not the same, and In Transit does well by letting these voices speak for themselves on this concept. There's something somber about it, in the way these people who have had to fight for their truths all the way through, speak about their desires and hopes. Despite the tears, there are footnotes of hope. The story of Patruni, a gender-fluid drag queen, is insisted carefully here. The interrogation is nurtured at the idea of giving every desire a name, every experience a definitive call. Even within the community, how must a trans woman perform? How are they expected to behave? These ideas arrive from a deeply heteronormative culture. As these individuals will only take a willingness to unlearn and reorient the ways we look, categorise, and decide. This docuseries intelligently positions the multiplicity of trans experience in a country that has extreme inequity due to class divisions. Access to education, the support of parents, and the socio-economic classifications are some of the most important factors that these individuals have to confront. It is more than just acceptance; it is also about access. This is a sensitively told document that never resorts to being complacent in its tone, which is perhaps its biggest accomplishment. However, amid all the willing affirmations, I could not help but wonder why Sood never created a sort of common space for these nine individuals to meet. Is it a judicious way of dealing with these very personal stories? Or does it subtly reflect how there are so many gaps in communication and inclusivity that still need to be taken into account? Either way, the shift will only take place with kindness and empathy.
Time of India
14-06-2025
- Entertainment
- Time of India
Zoya Akhtar reveals how 'Made in Heaven' led to powerful docuseries 'In Transit': 'We got so much love from the LGBTQ+ community'
Be it a school educator from Tripura or a classical musician from Bengaluru, the four-part documentary series 'In Transit' gives a sneak peek into the lives of nine individuals who live beyond the gender binary and are ready to go through hardships to fulfill their dreams. Each character is at a distinct level in their journey, confronting and challenging societal norms. Produced by Zoya Akhtar and Reema Kagti under the banner of Tiger Baby, the four-part docuseries is directed by Ayesha Sood . The project explores the lives of trans and non-binary individuals navigating love, identity, and the boundaries of gender in a uniquely Indian way. In a conversation with ANI, producer Zoya Akhtar and director Ayesha Sood got candid about the series and shared the challenges of making 'In Transit' Zoya shared that the genesis of the series traces back to the positive response to 'Made in Heaven': "The idea came, actually, after when we started doing Made in Heaven, the first season of Made in Heaven, we got a lot of support from the LGBT community and a lot of love from them. And then the next season, we had a character called Meher, which was played by Trinetra Haldar Gummaraju . And that was a trans woman character. While we were writing it, we realised we knew very little. So we did extensive interviews with about six women. And just their candour, the way they were so candid, the way they shared, and we realised how little we knew of these experiences. And they were from all over India. I just felt that this needs to be explored more. Lucky for us, our partners were Amazon Prime. And when I pitched this to them, they just went for it. So then we got Ayesha on who curated, she wanted to cover in this docuseries. And that's how it started." 'In Transit' is an unfiltered insight into the lives of nine people who live beyond the gender binary. The series features real-life stories of courage, vulnerability, and resistance from people around the country, including a young educator living in a reserve forest, a classical musician from Bangalore, and a corporate hotshot in Mumbai. Talking about the research work and bringing all the stories together, director Ayesha shared, "We did very deep research for about a year and a half. And through that time, we went through, like, from history to mythology to politics to understanding all the concerns of what it means to be trans in this country. And through that process, we made a long list and sort of filtered down ideas and thoughts of the story, and then came down to a final nine. So, you know, different stories and different perspectives and but also, you know, make them universal in that we are talking about, you know, identity and love and family. So these are also universal themes. So that's kind of broadly how we came to our characters." About the challenges of bringing them on camera to share their stories, Sood added, "Through the time that we were doing our research with the team, we started to sort of have conversations and build a relationship with these characters. We spoke with them, we did online interviews, we sent people and went and met them like one-on-one, no cameras. So I think the key thing here was to build this over time. And by the time they came to the camera, they knew us. So they were comfortable with us, and they trusted us. I think it was tough for a lot of them. These are not easy stories. They come from a lot of battles and struggles with people close to them and people in their lives. So I don't think it's easy for them at all." Referring to the story of a school educator in Tripura, Ayesha said, "Sid, who comes from Tripura, actually has a very complicated and tough story and runs away from home and had to be rescued with this conversation, this story that happened with his partner because there was another abduction involved. And we actually found Sid through a local sort of help NGO, an NGO in Kolkata. And they had rescued Sid and his partner from this traumatic night and evening. Our research team had somebody who knew of this, of this NGO and through them, we found this story. So it was like, I mean, I think it was like amazing that we were able to make these links with networks across India, like people who worked in the field, worked with trans individuals who could help us find these characters." Transgenders face different challenges including social exclusion, discrimination, unemployment, lack of educational facilities and others. The director talked about their acceptance in society and how, through the series, she hopes to bring a change. "I think people change and societies change when they experience things that move them and you'll see through the series also, there are some people who are accepting and there are some people who are not accepting and some families that do and some families that don't. So, I don't think it's, you look at the society as one block, you know, has society changed or it hasn't changed but things like 'In Transit' are what is going to help people change. You see it in your living room with family, with other people that you know and hopefully that sparks a conversation and a dialogue within that living room, you know, and changes something there." On talking about the challenges of making the project, Zoya shared, "For me, it was not challenging at all. Reema and me wanted a director that would actually not be manipulative, would actually not want to do something that would be,.. shocking or trying to attract attention in a way that we didn't want and Ayesha was the first name that came to both of us because there's a certain empathy, there's a certain understanding, there's a certain compassion, there's a certain analytical brain, there's a certain she just ticked all the boxes. Then Ayesha came on, honestly, we, for us, it was jam. We really didn't have any struggle." Ayesha agreed and said, "Filmmaking is chaotic and complicated and has many moving parts, but this wasn't a struggle for any of us. The struggle was for our characters, you know, them coming out, telling us their stories. They had to be involved in our process from beginning to end, you know, like give up parts of their life to us, whether it's photographs or introduce us to their worlds. So I think the struggles lay with them, you know, like for us, it wasn't a struggle."
India Gazette
14-06-2025
- Entertainment
- India Gazette
"Not easy, they come from a lot of struggles": Zoya Akhtar, Ayesha Sood explore lives of trans, non-binary individuals in 'In Transit'
By Ila Sankrityayan New Delhi [India], June 14 (ANI): Be it a school educator from Tripura or a classical musician from Bengaluru, the four-part documentary series 'In Transit' gives a sneak peek into the lives of nine individuals who live beyond the gender binary and are ready to go through hardships to fulfill their dreams. Each character is at a distinct level in their journey, confronting and challenging societal norms. Produced by Zoya Akhtar and Reema Kagti under the banner of Tiger Baby, the four-part docuseries is directed by Ayesha Sood. The project explores the lives of trans and non-binary individuals navigating love, identity, and the boundaries of gender in a uniquely Indian way. In a conversation with ANI, producer Zoya Akhtar and director Ayesha Sood got candid about the series and shared the challenges of making 'In Transit' Zoya shared that the genesis of the series traces back to the positive response to 'Made in Heaven': 'The idea came, actually, after when we started doing Made in Heaven, the first season of Made in Heaven, we got a lot of support from the LGBT community and a lot of love from them. And then the next season, we had a character called Meher, which was played by Trinetra Haldar Gummaraju. And that was a trans woman character. While we were writing it, we realised we knew very little. So we did extensive interviews with about six women. And just their candour, the way they were so candid, the way they shared, and we realised how little we knew of these experiences. And they were from all over India. I just felt that this needs to be explored more. Lucky for us, our partners were Amazon Prime. And when I pitched this to them, they just went for it. So then we got Ayesha on who curated, she wanted to cover in this docuseries. And that's how it started.' 'In Transit' is an unfiltered insight into the lives of nine people who live beyond the gender binary. The series features real-life stories of courage, vulnerability, and resistance from people around the country, including a young educator living in a reserve forest, a classical musician from Bangalore, and a corporate hotshot in Mumbai. Talking about the research work and bringing all the stories together, director Ayesha shared, 'We did very deep research for about a year and a half. And through that time, we went through, like, from history to mythology to politics to understanding all the concerns of what it means to be trans in this country. And through that process, we made a long list and sort of filtered down ideas and thoughts of the story, and then came down to a final nine. So, you know, different stories and different perspectives and but also, you know, make them universal in that we are talking about, you know, identity and love and family. So these are also universal themes. So that's kind of broadly how we came to our characters.' About the challenges of bringing them on camera to share their stories, Sood added, 'Through the time that we were doing our research with the team, we started to sort of have conversations and build a relationship with these characters. We spoke with them, we did online interviews, we sent people and went and met them like one-on-one, no cameras. So I think the key thing here was to build this over time. And by the time they came to the camera, they knew us. So they were comfortable with us, and they trusted us. I think it was tough for a lot of them. These are not easy stories. They come from a lot of battles and struggles with people close to them and people in their lives. So I don't think it's easy for them at all.' Referring to the story of a school educator in Tripura, Ayesha said, 'Sid, who comes from Tripura, actually has a very complicated and tough story and runs away from home and had to be rescued with this conversation, this story that happened with his partner because there was another abduction involved. And we actually found Sid through a local sort of help NGO, an NGO in Kolkata. And they had rescued Sid and his partner from this traumatic night and evening. Our research team had somebody who knew of this, of this NGO and through them, we found this story. So it was like, I mean, I think it was like amazing that we were able to make these links with networks across India, like people who worked in the field, worked with trans individuals who could help us find these characters.' Transgenders face different challenges including social exclusion, discrimination, unemployment, lack of educational facilities and others. The director talked about their acceptance in society and how, through the series, she hopes to bring a change. 'I think people change and societies change when they experience things that move them and you'll see through the series also, there are some people who are accepting and there are some people who are not accepting and some families that do and some families that don't. So, I don't think it's, you look at the society as one block, you know, has society changed or it hasn't changed but things like 'In Transit' are what is going to help people change. You see it in your living room with family, with other people that you know and hopefully that sparks a conversation and a dialogue within that living room, you know, and changes something there.' On talking about the challenges of making the project, Zoya shared, 'For me, it was not challenging at all. Reema and me wanted a director that would actually not be manipulative, would actually not want to do something that would be,.. shocking or trying to attract attention in a way that we didn't want and Ayesha was the first name that came to both of us because there's a certain empathy, there's a certain understanding, there's a certain compassion, there's a certain analytical brain, there's a certain she just ticked all the boxes. Then Ayesha came on, honestly, we, for us, it was jam. We really didn't have any struggle.' Ayesha agreed and said, 'Filmmaking is chaotic and complicated and has many moving parts, but this wasn't a struggle for any of us. The struggle was for our characters, you know, them coming out, telling us their stories. They had to be involved in our process from beginning to end, you know, like give up parts of their life to us, whether it's photographs or introduce us to their worlds. So I think the struggles lay with them, you know, like for us, it wasn't a struggle.' 'In Transit' is out on Prime Video. (ANI)
Time of India
14-06-2025
- Entertainment
- Time of India
In Transit Season 1 Review: This docu-series is a moving portrait of trans lives and the journey to self-acceptance
Story: This documentary series delves into the lives of nine transgender and non-binary individuals from different parts of India, tracing their personal journeys, struggles, and milestones on the path to self-acceptance and identity. Review: 'In Transit' is a deeply thoughtful and poignant docu-series that offers an intimate glimpse into the lives of nine transgender and non-binary individuals from across India. It explores their personal journeys, layered identities, and the complexities of love, family, and self-acceptance. From a clinical psychologist in Mumbai to a classical musician in Bangalore, a corporate executive in Jamshedpur to a budding filmmaker in Tripura—the series assembles a wide spectrum of voices that reflect both diversity and shared struggle. The debut episode functions as an introduction, gradually drawing us into their emotional and physical transformations. Each individual story captures an act of defiance—a refusal to conform and a desire to simply live as they truly are. The following episodes dive deeper into these journeys, tracing the difficult path to authenticity. Some individuals, like Anubhuti Banerjee, flourished with the support of nurturing parents and now hold senior positions in corporate spaces. Others, like Teena Naaz from rural Haryana, battled poverty, rejection, and societal prejudice at every step. Aryan Somaiya speaks of years of abuse and emotional violence in his family, recalling how he refused to even acknowledge his chest for over two decades, such was his clarity about his identity as a man. Then there's Madhuri Sarode Sharma, who holds the distinction of being the first transgender woman to marry her partner after a long courtship—an event still rare in India's social landscape. What makes 'In Transit' compelling is its ability to emotionally disarm the viewer. The storytelling is empathetic and rooted in the everyday—quiet moments, candid reflections, and occasional tears that feel honest rather than staged. The geographical spread also deserves credit; the series doesn't limit itself to metro cities but spans places like Faridabad, Tripura, and Jamshedpur, giving space to underrepresented voices. However, while the focus on personal experiences is powerful, the absence of voices from the protagonists' families, friends, or partners is jarring. Apart from a brief moment in Teena Naz's story, there's little attempt to show how their transitions affected or were supported by those closest to them. This missing layer might have added further richness and perspective. Despite this shortcoming, 'In Transit' is a moving and essential piece of work that deserves to be seen widely. Produced by Zoya Akhtar and Reema Kagti, it is both timely and courageous—a testament to the human spirit and the will to live authentically in a society that often punishes difference. Through stories that are alternately heartbreaking and uplifting, it captures the ongoing journey of self-discovery with nuance and compassion. More than just a documentary, it stands as a cultural marker—one that future generations might look back on as a reminder of how far we've come and how far we still need to go.
