Actress Monalisa has spoken candidly about the objectification of women in Indian cinema, drawing a pointed distinction between how mainstream Hindi films and regional cinema — particularly Bhojpuri films — handle the portrayal of women on screen. Her remarks, made in an exclusive interview, reignite a debate that has grown louder in recent months following controversies around specific film releases.

What Monalisa Said

The actress argued that the difference between acceptable and problematic depictions often lies not in the content itself, but in how it is filmed. 'I think in Hindi cinema, even when there is a lot of skin show, the way it is shot is often very aesthetic. Because of the way it is presented, people may not feel that it looks wrong,' she said.

Turning to regional cinema, Monalisa was candid in her assessment. 'I would say that perhaps regional cinema, particularly Bhojpuri cinema, has lacked that aesthetic treatment at times,' the Nazar actress acknowledged. She elaborated that elements such as showing the waist or a little skin can be handled differently when filmed with care. 'If the same thing is shot beautifully and aesthetically, whether you want to show the waist or a little skin, it can look different,' she added.

The Broader Context

Monalisa's comments arrive months after the makers of Peddi faced significant criticism over the portrayal of actress Janhvi Kapoor's character, Achiyamma, opposite Ram Charan. The film sparked a social media debate over what several users described as the hypersexualisation and objectification of the female lead. Certain scenes drew widespread attention for repeatedly focusing the camera on Janhvi's cleavage and waist.

A separate sequence — in which Ram Charan's character kisses her without consent and later frames the act as an expression of love — drew sharp reactions from within the film industry. Several industry members publicly questioned the treatment of the female character and raised broader concerns about how women are depicted on screen.

Presentation as the Key Variable

At the heart of Monalisa's argument is the idea that cinematic craft can determine whether a scene feels exploitative or artistic. She emphasised that the same visual, depending on how it is composed and presented, can create an entirely different impression on the audience. 'So, I think presentation is also very important,' she concluded.

This is not the first time the Bhojpuri film industry has faced scrutiny over its on-screen treatment of women. Critics have long argued that a segment of Bhojpuri cinema relies on item numbers and suggestive sequences that lack the production sensibility to contextualise them within a narrative. Monalisa, who has worked extensively in the industry, appears to be acknowledging that critique from the inside.

What This Signals for Indian Cinema

The conversation around women's objectification in Indian entertainment has gained fresh momentum in the post-#MeToo era, with audiences and critics increasingly scrutinising not just content but intent and craft. Monalisa's perspective — that aesthetics and presentation are not merely stylistic choices but ethical ones — adds a nuanced voice to a debate that often defaults to binary positions. How filmmakers across regional industries respond to this growing scrutiny will likely shape casting, scripting, and directorial choices in the years ahead.