During a recent interview for the Telugu film Paradha, actress Anupama Parameswaran’s face lit up when discussing the women involved in director Praveen Kandregula’s team. She noted, ‘Usually, besides my hairdresser and me, most of the crew consists of men. There’s nothing inherently wrong with that. However, for a film exploring female friendships, having women in the direction, cinematography, costume, and other departments truly facilitated a smooth exchange of ideas. It even offered a sense of comfort when I wasn’t feeling well.’
Similarly, Shruti Haasan expressed a comparable sentiment during a conversation about her international psychological thriller, The Eye, produced by Melanie Dicks, directed by Daphne Schmon, and scripted by Emily Carlton. Shruti shared her long-standing desire to collaborate with a female director again, years after her experience with Aishwarya Rajinikanth on the Tamil film 3.
Shruti elaborated, ‘The writer and director of The Eye shared a bond since childhood. I found myself stepping into an already established sisterhood. It’s truly wonderful when women can tell stories with such a strong sense of empathy. When a team of women collaborates, the storytelling gains remarkable depth.’
This raises a broader question about gender dynamics within film production. Are film sets inherently challenging environments for women, considering the demanding hours and often male-dominated crews?
Merit Above All
Puja Kolluru, currently directing the Telugu superhero film Mahakali, recalls her experiences on film sets in Los Angeles and Florida, where women comprised nearly 40% of the crew. As an alumna of Ringling College of Arts and Design, USA, Puja observed, ‘What truly stood out was that every team member was chosen purely based on merit. While technical departments like cinematography still had fewer women, many women thrived in costume and production design.’
Years later, when Puja directed Martin Luther King, the Telugu adaptation of the Tamil film Mandela, she welcomed several women onto her team. For Mahakali, her crew includes two female assistant directors (ADs) working alongside eight male ADs. ‘I saw the incredible drive in these women,’ she remarked, ‘and that was the deciding factor.’
However, Puja also noted the stark contrast in applications: ‘For every 80 male applicants, I’d receive only about 10 from women.’ She believes pre-conceived notions about the film industry often deter women, emphasizing the need for more women to take that vital first step. ‘As a director, my goal is to ensure an equitable work environment for everyone, regardless of gender,’ she asserted.
Director Praveen Kandregula shares this perspective. From the initial scripting phase to the actual film sets, he strives to cultivate a workspace built on mutual respect, irrespective of whether the story centers on male or female characters. ‘Art and technical skill converge in every aspect of filmmaking—script writing, direction, cinematography, and production design. What you truly need are the right people for the job,’ he explained.
Praveen clarified that his decision to bring Mridul Sen on board as the director of photography for Subham (Samantha Ruth Prabhu’s debut production) and Paradha was entirely based on merit, not on the prevalence of female characters in those narratives. ‘I chose Mridul because her unique lensing and exquisite sense of light truly stood out in her previous works. Similarly, for my first film, Cinema Bandi, I approached Apoorva Anil Shaligram due to her extensive experience with indie projects,’ he said.
Breaking Down Stereotypes
Praveen noted that women are frequently found in assistant roles across various departments, though he personally advocates for them to take on leadership positions. For instance, Krishna Pratyusha, who contributed to the screenplay of Cinema Bandi, later served as a script doctor for Paradha, originally penned by Poojitha Sreekanti and Prahaas Boppudi.
He firmly believes it’s time for both film crews and society at large to move beyond stereotypes and recognize that gender should never dictate one’s ability to write or direct a film.
Excellent examples of this include directors Zoya Akhtar and Farah Khan. Zoya, with films like Zindagi Na Milegi Dobara and Gully Boy, shattered the misconception that female directors exclusively gravitate toward women-centric narratives. Farah achieved similar success with her highly entertaining blockbusters, Om Shanti Om and Main Hoon Na.
Puja further elaborated, ‘Mahakali is an action-packed entertainer, marking the first female superhero film in the Prasanth Varma Cinematic Universe, which began with Hanu-Man. Conversely, Martin Luther King featured a male protagonist. Female writers are capable of bringing nuanced sensitivity to male characters, just as male writers can infuse ‘macho-ness’ into female roles. Ultimately, the priority should always be to enhance the storytelling.’
Yet, despite these strides, many battles still need to be won on the ground.
Srividya Vanamalai, an engineer who transitioned into an Assistant Director (AD) with directorial aspirations, acknowledges a common tendency within film units: female ADs are often pigeonholed into coordinating with the costume department. However, as a newcomer on the sets of Vivek Athreya’s Brochevarevarura, she was pleasantly surprised to be assigned to the art and production design teams. ‘Every day brought new logistical challenges, and it was an invaluable learning experience,’ she recalled. ‘Initially, some found it difficult to take instructions from me, but I quickly learned that when you communicate with respect, it is always returned.’
This positive experience also allayed her and her parents’ earlier concerns about the industry’s safety for women. ‘Despite being the sole female AD, the overall work environment was fantastic,’ she shared.
Subsequently, she joined Vivek’s team again for Ante Sundaraniki, where Latha Naidu led the production design department, supported by several female assistants. ‘We had at least ten women on set,’ Srividya recounted, adding, ‘Over my seven years in filmmaking, I’ve definitely witnessed more women entering the field.’
Most recently, Srividya served as the Tamil dialogue coach for actor Nagarjuna Akkineni in the film Coolie.
Leading by Example, Fostering Change
In Telugu cinema, several directors, including Sekhar Kammula, Nag Ashwin, Vivek Athreya, and Nandini Reddy, are recognized for actively involving women across various departments on their sets. When a director or producer demonstrates a gender-sensitive approach, this inclusive atmosphere naturally permeates throughout the entire production unit. A case in point is debut director Vidyadhar Kagita’s Gaami, where Pravalya D. expertly led the production design.
While Srividya notes that she personally hasn’t faced issues giving instructions to male colleagues, she emphasizes that there’s still room for improvement. She highlights casual references to women as ‘aa ammayi‘ (that girl/woman) instead of by name, and has seen female friends leave the industry due to disheartening treatment. ‘We all crave validation for our hard work, especially when we aspire to write and direct our own films,’ she explained. ‘There are instances where female ADs’ suggestions are simply dismissed, and friends have confided in me about being consistently undermined or underpaid, even when outperforming their male counterparts.’
Another pressing issue is the lack of access to clean washrooms, particularly during outdoor shoots. This critical aspect was prominently featured in a report submitted to the Telangana State government concerning working conditions for women in Telugu cinema, a report still awaiting official approval for implementation.
Proper credit and recognition for their work also tops the wishlist for many. Archana Rao, a costume designer known for her work on Telugu films like Mahanati, Kalki 2898 AD, and Lucky Baskhar, as well as the Malayalam female superhero film Lokah – Chapter One: Chandra, hopes that costume design will receive prominent recognition in main credits or film posters. ‘Costumes are fundamental to storytelling, yet their contribution is frequently overlooked,’ she stated. ‘Granting them greater visibility would significantly acknowledge the craftsmanship involved. Kalki 2898 AD has already set a positive precedent in this regard.’
Archana, a National Award winner for Best Costume Design for Mahanati, revealed that she trusts her gut when choosing projects. ‘It might sound cliché, but instinct has always been my reliable guide,’ she confessed. ‘Every time I’ve disregarded it, I’ve encountered challenging experiences. I need to genuinely feel a connection to that film’s world; only then can I produce my best work.’
Throughout her career, Archana has collaborated with women across various departments. ‘For Lokah, for instance, writer Santhy Balachandran was an incredible sounding board for my costume ideas,’ she shared. ‘Those collaborative exchanges truly enriched the creative process, making it more layered.’
Archana concludes by expressing her deep appreciation for working with women in leadership positions. ‘They possess an inherent intuition, and that sensitivity gracefully influences how a team operates,’ she mused. ‘It transforms the set into a welcoming space, making it feel like home and a truly comforting environment.’