In 2025, Bollywood roared back with a vengeance, but not in the way many hoped. The Indian film industry saw a resurgence of hypermasculine action thrillers, dominating the box office and cultural conversations. This shift sparked a debate about the direction of Indian cinema and its reflection of societal values. But what does this mean for India's evolving cultural landscape? Let's dive in.
Just a year before, 2024, had offered a glimmer of hope. Women-led stories like All We Imagine As Light and Girls Will Be Girls garnered global acclaim, suggesting a shift towards richer, more diverse narratives. Film critic Mayank Shekhar called it "a moment of truth," but the tide turned swiftly.
In 2025, the top 10 box-office hits were dominated by larger-than-life male heroes, from the espionage thriller Dhurandhar to historical epics like Chhaava and action spectacles like War 2. The only exception was the Malayalam-language superhero film Lokah. Even romance films, such as Saiyaara, centered on male characters, with the female lead often in a supporting role.
But here's where it gets controversial: Films like Tere Ishk Mein, which romanticizes toxic masculinity, became massive hits, despite criticisms. It's a pattern that raises questions about audience preferences and the industry's willingness to challenge established norms. The film earned over 1,550 million rupees ($17.26m, £12.77m) worldwide. Another surprise hit was Ek Deewane Ki Deewaniyat, a relatively small-budget romance drama.
Priyanka Basu, a senior lecturer in Performing Arts, points out that Hindi cinema has historically marginalized women protagonists, and the industry has long had stark inequalities in casting, pay, and opportunities. She says, "Just one year to change that is unrealistic. We need more such years, and more stories that put women front and centre."
The industry's focus on the macho hero isn't new. It goes back to Amitabh Bachchan's "angry young man" image of the 1970s, and even the romantic era of Shah Rukh Khan offered only a brief detour. This trend has even carried over to streaming platforms, where action and crime thrillers now make up 43% of titles, while female-led stories have fallen to just 12%.
Trade experts argue that this shift reflects audience demand, not creative regression. Analyst Taran Adarsh suggests that accusations of toxicity come from a "handful of critics" and can't change the fate of films.
But is it really just about audience taste? Anu Singh Choudhary, co-writer of Delhi Crime 3, argues that macho blockbusters reflect a patriarchal society. She believes that as the world order changes, so will our films.
And this is the part most people miss: The economic realities. Producers, distributors, and exhibitors control the visibility of a film, which often depends on the bankability of the male star. Independent and women-led films face an uphill battle. Screenwriter Atika Chohan suggests that some of the exaggerated misogyny is a response to the accountability demanded by women during the MeToo movement.
However, there are signs of hope. Smaller, regional film industries and independent filmmakers are creating "riveting, viable cinema." Films like Sabar Bonda and Songs of Forgotten Trees explore complex social issues, while The Girlfriend and Bad Girl offer compelling female-led narratives. In Malayalam cinema, Feminichi Fathima uses humor to explore a Muslim housewife's quiet rebellion.
So, what do you think? Is the dominance of hypermasculine films a reflection of audience demand, or something more? Are the independent films offering a viable alternative? Share your thoughts in the comments below!
