Singer Sona Mohapatra has weighed in on the controversy surrounding Janhvi Kapoor's portrayal in the Telugu film Peddi, arguing that mainstream Indian cinema routinely reduces heroines to “decoration to be sexualised and objectified” while packaging toxic masculinity as romance. Mohapatra shared a video on 8 June recorded while she was en route to the Kashish Film Festival in Mumbai, where she has been a long-time supporter and performer.

What Mohapatra Said About the Peddi Backlash

The singer said the public pushback against Peddi’s portrayal of its female lead had given her “a strange relief.” She noted that the backlash appeared to have rattled filmmakers, with some reportedly giving interviews describing the character as “very innocent” and indicating that certain sections of the film would be removed.

“In the last few days, one thing has given me a strange relief. In our heavily promoted mainstream film, the backlash against the portrayal of the heroine has given me some hope and optimism,” she said. “Seems like it had an impact on some of the filmmakers who are giving interviews that she is very innocent and some sections will be removed.”

The Formula Mohapatra Calls Out

Mohapatra said she has not watched Peddi or its predecessor Pushpa and did not plan to, but argued the template is widely understood. “The hero always lives a dignified life. And the heroine is just an extension of that story. Decoration to be sexualized, objectified. Toxic masculinity is called romance in such films,” she said.

She described a recurring visual grammar — slow-motion shots, strategic camera angles, clothing designed for the male gaze, and loud background scores — that she argued normalises disrespect. “Disrespect becomes swagger,” she said. “And in most cases, misogyny wins at the box office. But this time, something different has happened.”

Connecting Reel Attitudes to Real Crimes

Mohapatra drew a direct line between on-screen portrayals and real-world attitudes toward women, citing stalking, harassment, child sexual abuse, and domestic violence as issues audiences may now be connecting to the films they consume. “I guess people are connecting how such films influence attitudes and behaviours in society,” she said. “Because mostly in our films, it’s the case that it’s not a story. The writers don’t have to pay. No problem. Put in patriarchy. Delete the heroine’s agency from the screenplay.”

She argued that filmmakers lean on patriarchal tropes as a commercial shortcut rather than investing in well-developed female characters, calling it “lazy, short cut, pathetic ideas of filmmaking.”

Kashish Festival as a Counter-Narrative

Recording the video while heading to the closing ceremony of the Kashish Film Festival in Mumbai, Mohapatra contrasted the event with what she described as “bullshit mainstream cinema.” This year’s edition brought together more than 150 films from over 40 countries, celebrating diverse voices and stories. “Kashish is still continuing. Year after year, despite not having these kinds of budgets, star power or machinery,” she said. “Courage and authenticity matter. Because stories about real human beings matter.”

A Note of Hope

Mohapatra ended on a cautiously optimistic note, expressing hope that audiences — “whether they’re queer, straight, young, old, male, female, or anything in between” — will increasingly demand authentic storytelling over fantasy and propaganda. “Maybe we will demand better stories, better women characters,” she said. “And maybe all this is a sign that we are becoming a better society.” The Peddi controversy, centred on director Buchi Babu Sana’s choices, continues to draw scrutiny from commentators across the industry.