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Five movies wonderfully set apart by themes, motifs, and storytelling elements, yet united for being exemplary of directorial genius.

Fire (1996) by Deepa Mehta

Fire is part of Mehta’s Elements trilogy and does a remarkable work of showing the nuanced relationship between two women—Radha and Sitas, set against the backdrop of a volatile socio-political climate. Fire sure caused raging controversies but was later critically acclaimed for being a brave, turn-of-the-century Indian cinema— must-watch for generations of cinephiles.

Firaaq (2008) by Nandita Das

Firaaq could successfully break free from the conventional moulds of film-making to offer a heart-wrenching commentary on the Gujrat Riots of 2008 and stir a buzz in the country’s socio-cultural-political scenario. Firaaq’s visual elements and complex narrative structure put it on a sacred pedestal of cinematic grandeur. Das’ vision as a filmmaker and storyteller makes the film a compelling watch.

Salaam Bombay (1988) by Mira Nair

Watching this film is synonymous with reading a Dickensian novel with its threads and narratives carefully woven into a gossamer of sorts. The film came to be after meticulous and journalistic research on the lives of Bombay’s street children. Mira Nair offers us a hauntingly beautiful exploration of child labour, poverty and abuse spinning out of a city which was lying precariously on the cusp of change. The film’s aesthetics, depiction of being ‘othered’ and portrayal of grim poverty lend it a certain rawness and beauty.

Parched (2015) by Leena Yadav

Parched, set in a quaint desert village of Rajasthan, is a poignant commentary on social issues that plague a woman’s life: abuse, child marriage, misogyny and social stigmas. The beauty of Perched lies in its stark portrayal of a friendship between four women born out of a hardened and anachronistic patriarchal regime. A range of emotions flows in the film and you come to appreciate and love this film that refuses to adhere to cliches and stereotypical victim-narrative structures.

Mitr, My Friend (2002) by Revathi

Revathi’s directorial debut, the film is on the Indian diaspora and centres around a South Indian couple—Lakshmi and Prithvi. Mitr, My Friend explores a woman’s identity, post marriage, as she navigates her personal space, relationships and liberty in a foreign home. Lakshmi, a high-caste Tamilian, is a typical South Indian girl—firmly rooted and somewhat complacent in her values and beliefs. Her life goes through a cataclysmic change when she shifts to the USA, post-marriage, and this is where the film shines in all its cinematic brilliance; in showing the diasporic space intertwined with a woman’s identity.