Fighting for a safe space in film industry

In 2017, a brutal sexual assault incident in the Malayalam film industry prompted the Women in Cinema Collective to demand a committee to investigate the issues faced by women in the industry. This led to the formation of the Hema Committee. Around the same time, FIRE (Film Industry for Rights and Equality) was established in Karnataka, with members including Priyanka Upendra, Chetan Ahimsa, Kavitha Lankesh, and Sruthi Hariharan. However, as a private entity, FIRE’s efforts were hindered by the lack of support from film stars.

Film industries mirror each other. When the Hema Committee report was published in August, FIRE urged the Karnataka Chief Minister to establish a similar committee. Two weeks later, the Karnataka Women’s Commission directed the Karnataka Film Chamber of Commerce (KFCC) to form a PoSH committee. On December 2, KFCC announced an Internal Complaints Committee (ICC) with Kavitha Lankesh as chairperson, only to put it on hold hours later, citing election-related code of conduct. FIRE attributed the move to internal opposition. 

DH’s Pranati A S spoke to Kavitha Lankesh about the systemic problems in the Kannada film industry and the reluctance to form a PoSH committee. Excerpts:

Tell us about FIRE.

FIRE has been actively working towards establishing a committee to address grievances, promote the welfare of women and minorities, and tackle sexual harassment cases within the industry. Last week, the Supreme Court made it mandatory for every private and government organisation to have a PoSH committee. I don’t understand why the film chamber, of which I’m also a member, is against it. A meeting a few months ago was completely male-dominated. There were talks about how the film industry is not doing well and this would kill the industry. 

Why do you think there is a reluctance?

I think it’s their patriarchal mindset. During a meeting, one of them said that there shouldn’t be women in films and the practice of olden times when men played women’s roles should be brought back. This is what we hear when we try to talk about women’s rights and safety. 

I often hear people say, ‘For something that happened 10 years ago, why complain now?’ When a woman is raped, a victim is always victimised in Indian society. Women’s voices in the industry are being shut out at the cost of a career. When women from the film industries spoke during the ‘me too’ movement, their opportunities were cut off.

There are no toilets on the set. Women cannot even change their pads when they’re on their period. What is the fear in addressing that?

How many senior female artistes have come in support?

That is another thing. Pramila Joshai was the vice president of the chamber, and N M Suresh, the current president, suggested we put her on the committee as well. But later she said that she was not even asked. Some women claim that there’s been no harassment or nothing has happened to them in the last 40 years. Maybe they’re lucky, but not all are. Not all of them are strong and brave. 

With a committee, what can change?

Whenever a woman faces a problem and she complains, the first thing she is told is to compromise. They’re discouraged from complaining, and soon the word spreads about how she is “difficult to handle”. If there is a committee, at least the person who complains has opportunities in the future. Even Parvathy Thiruvothu, being an established actor, has talked about how her opportunities faded after she spoke up. A newcomer will just be pushed into oblivion.

When FIRE was established, were there complaints?

When we started, of course, there were a lot of women, not stars, but small actors who had come into the industry. They spoke about the harassments they faced in the night and were asked for lewd pictures with offers and opportunities.  

What happened to FIRE later?

FIRE has always been there. But as a private organisation with a handful of people, we cannot really listen to grievances unless a committee is formed. We actually don’t need the film chamber to do it. We need a government-suggested committee. Many things are needed, like sensitivity courses. The portrayal of transgenders even today in Kannada cinema is abhorrent. 

There is also a need for a helpline. When a new actor comes from a small town, if something happens, who does she call? I’ve also seen first-time directors exploiting women with promises of a rosy future. A helpline itself is a warning for people who are inclined to do this.