Alternate Cinema

All three of these films, Shatranj Ke Khiladi (1977), Ardh Satya (1983), and Hazaar Chaurasi Ki Maa (1998), asked probing questions about the political reality of the day. These films didn’t follow the usual pattern of masala entertainment, but they did show clear lines between good and bad, which confirmed society’s morals. These films didn’t follow the usual pattern of masala entertainment, but they did show clear lines between good and bad, which confirmed society’s morals.

As India’s economy liberalized in the 1990s, alternative films started to concentrate more on the individual: goals, aspirations, relationships, and impressions of the outside world. Alternative cinema films like “Anjali” (1990), “Maachis” (1996), “Iruvar” (1997), and “Hyderabad Blues” (1998) were more nuanced about the individual than mainstream films. Deepa Mehta’s Elements Trilogy (1996-2005) included a same-sex partnership in Fire (1996). This was the first time that homosexuality was shown on TV in a normal and kind way, unlike in Indian films, where gay and effeminate characters are always made fun of.

Films made in the 21st century that are considered to be part of the alternate cinema genre do not have a consistent philosophy or topic. This wide umbrella term stems from their different approaches and topical treatments. Independent films are liberal, humanist films that don’t follow the structure of Hollywood (1997) from the early 1900s. In the last 10 years, there has been a “rain of diamonds” in India. This is because there are more producers, more funding sources, and support from well-known actors. All of these things have been helped by a more educated audience.

Alternate Cinema is a U-turn from Indian cinema’s “formulas” because it focuses on real-world themes and art that is subtle and beautiful. Alternate film themes have been blended into commercial films, but most maintain a flavour of Indian mainstream cinema. Both Lagaan (2001) and Swades (2004) are about survival and getting through hard times in rural areas, which suggests a close connection between the people and their land and country. They included Indian megastars, Aamir Khan and Shah Rukh Khan. Anurag Kashyap’s version of the old Bengali story Devdas was praised for its sleek, pulp style and the way it bravely included modern events. Despite its avant-garde heart, the film is a contemporary classic. There are other factors to consider, such as the lack of theatres in the case of New Wave films. What has changed, though, is the extra marketing expense. Ticket rates at multiplexes are another obstacle. This, in turn, defines the kind of middle-to-upper-middle-class audience that has access to these films. With the help of well-known people like Karan Johar, alternative films are moving from international film festivals to theatres and DVDs in India and other places. Films like The Lunchbox show how this is happening. But this has changed since the rise of streaming services, which have given businesses a new way to reach customers. However, these platforms are progressively shifting towards large production companies and binge-worthy serialized programming.

People also argue about whether the growing number of independent and alternative films at film festivals is changing how people choose what to watch. Modern parallel cinema in India is neither a separate genre nor a separate business. There are many languages and voices, and from a branding point of view, the Indian New Wave of the late 1960s to the 1980s was more consistent because it had state support and a certain nation-building mentality. Today, however, government financing does not play the same role as it did during the parallel cinema movement. Because there is so little backing from established institutions and virtually no ecosystem, the future is notoriously difficult to forecast. There is optimism that filmmakers will continue their creative practices and improve in a cinematic world that is becoming increasingly globalized and interconnected.