Objectification of women happens in both South & Bollywood: Raashi Khanna
The issue of objectification of women in cinema is often framed as a problem limited to certain film industries. But according to Raashii Khanna, one of Indian cinema’s rising stars, that assumption is flawed. In a recent interview, she asserted that objectifying women is a widespread problem — not just in South‑Indian cinema, but also in Bollywood.
In this article, we examine Raashi Khanna’s observations, what they tell us about the broader film‑industry culture, and why such patterns matter.
Understanding Raashi Khanna’s Stand
Why Raashi Khanna’s voice is important
Raashi Khanna’s career spans across multiple regional film industries: she’s acted in South‑Indian films (Telugu, Tamil) and also seeks to grow in Hindi cinema. Having seen the workings of both sides, she occupies a vantage point. Her remarks carry weight because they emerge from real experience, not outsider critique.
When Raashi speaks about comfort, choices, and boundaries, she is talking about a lived reality — one familiar to many actors navigating a complex industry.
What did Raashi say exactly?
- She said the objectification issue “is not just a South thing; I see it in the North quite a lot.”
- She emphasized that it depends on the actor’s personal comfort. For her, there is a limit — if a role makes her feel that “a line is being crossed and I might look cheap,” she would reject it.
- Raashi added that some people may be comfortable with certain portrayals — she chooses not to judge them, but wants the freedom to decide for herself.
Her clarity is refreshing: she is not condemning every film or actor, but flagging that the problem is systemic, not isolated.
The Problem: Objectification Beyond Regional Lines
What is “objectification” in cinema?
Objectification refers to reducing a person — especially a woman — to body, looks or physical appeal, ignoring her individuality, personality, talent, and character depth. In film, this often means:
- Roles that emphasize glamour over substance.
- Characters whose primary function is to look attractive, sometimes with minimal dialogue, depth, or agency.
- Camera angles, costumes or scenes that prioritize visual titillation rather than story or character development.
Though often critiqued in the context of South‑Indian commercial films, such patterns are not limited to one region.
Evidence that the issue is widespread
Academic studies of the Hindi film industry, i.e., Bollywood, confirm the prevalence of gender bias and stereotyped portrayals. For example, a research paper analyzing 70 years of Bollywood films found recurring patterns of under-representation of women characters, unequal screen time, and biased dialogues — even as posters or promotional material might give them visible presence.
Given the size and influence of Bollywood, such representation issues affect public perception and reinforce problematic norms across large audiences.
Raashi Khanna’s statement brings to light that the issue is not just structural to one region, but deeply rooted in film‑making practices across India.
Why It Matters: Impact on Actors and Audiences
For actors — especially women
For actresses, objectification can create pressure to conform — to accept glamorous but shallow roles, or to downplay their acting talent. As Raashi revealed, sometimes actresses are judged solely on their looks, not taken seriously as performers.
This leaves little room for nuanced, content-driven performances. Many talented women may shy away from serious or complex roles because of fear of typecasting.
For audiences — and society at large
Films shape social attitudes. When women in movies are repeatedly shown primarily as objects — for beauty, glamour, or erotic appeal — it normalizes a reductive perspective. That subtly influences how society perceives real women: their value tied to appearance, not personality or talent.
Such representation also limits the kinds of stories told — fewer women‑centric narratives, fewer characters with agency, fewer stories that explore female perspectives deeply.
What Raashi Khanna Suggests: Personal Choice and Boundaries
One of the key take‑aways from Raashi Khanna’s remarks is the importance of personal boundaries for actors. She says that while she’s open to commercial films, she has a limit.
This approach — awareness and willingness to say “no” when a role feels demeaning — is a step toward asserting agency. By stating such boundaries openly, actors like Raashi also set an example: objectification doesn’t have to be accepted as the norm.
Moreover, she avoids judging other actors for their choices, recognizing that comfort levels differ. That nuance is important: it keeps focus on systemic problems, not individual decisions.
Ways Cinema Can Improve: More Than Just Glamour
If the issues of objectification are to be addressed, change must come at multiple levels:
Better writing and more female‑centric stories
Films should invest in writing women as full-fledged characters — with motivations, depth, flaws, aspirations. This helps move beyond glamor-based roles to stories where women are central, not just decorative.
Sensible casting and production choices
Filmmakers must avoid using nudity, skin-show or glamor solely for commercial appeal. Instead of relying on visual titillation, they should focus on performance, plot, character arcs.
Respecting actors’ boundaries
Actors — male or female — should be able to voice discomfort without fear of being labeled “difficult” or losing opportunities. The industry should respect creative and personal boundaries.
Audience awareness and demand
Ultimately, audience preferences drive film content. When viewers demand substance over sensationalism, film makers are more likely to offer meaningful stories. Audiences rejecting objectifying content sends a strong message.
Raashi Khanna’s Own Path: From Commercial to Content‑Driven Roles
Raashi Khanna’s career trajectory illustrates the possibilities. While she has done several commercial South films, she now aims to explore more content-driven roles — including in Hindi cinema.
Her recent film 120 Bahadur (released November 2025) — a war drama — reflects this shift. Instead of glamor, her role focuses on character, emotion, and context.
If more actors and filmmakers follow this path, it can help reshape the industry’s storytelling culture — with more respect for women as characters, not mere ornaments.
Why Raashi Khanna’s Message Is Timely
The topic of representation and objectification remains relevant — in 2025 and beyond. As Indian cinema evolves, with growing global reach and increased scrutiny, public conversations around sexism, bias and representation are more important than ever.
By speaking out candidly, Raashi Khanna contributes to a broader movement that questions old norms and demands change. Her stance encourages both industry insiders and audiences to reflect — and perhaps demand better.
