Unraveling ‘Dhurandhar, Chhaava’: How Angry Men Took Over Bollywood in [Year]

For Bollywood, 2025 felt oddly familiar. After a year where women-led films gained attention, action-packed thrillers took over the box office and cultural chatter. The film Dhurandhar, which stirred discussions on social media, showcased intense themes against the backdrop of India-Pakistan tensions. With its graphic violence, it symbolized a return to the machismo of earlier film eras.

This shift was quite different from 2024. That year saw films like All We Imagine As Light and Girls Will Be Girls, crafted by women filmmakers, gaining global acclaim. Film critic Mayank Shekhar noted this as a pivotal moment for Indian women in cinema. Many hoped for a rise in diverse stories about women. However, in 2025, male-driven narratives dominated again. Half of the top ten hits were traditional action films featuring hypermasculine leads.

Among the leading films, Tere Ishk Mein, starring Dhanush, became a major success. It depicted a volatile male lead overshadowing a strong female character. Critics argued it glorified toxic masculinity, yet it earned over $17 million worldwide. Similarly, another film, Ek Deewane Ki Deewaniyat, received backlash for its portrayal of an obsessive lover, and yet it found its way into viewer conversations.

Historically, Bollywood has often focused on male-centric stories, dating back to the 1970s with Amitabh Bachchan’s “angry young man” image. Even the rise of romantic heroes like Shah Rukh Khan did little to change the trend. Streaming platforms, once seen as a refuge for unique storytelling, have mirrored these mainstream patterns. Data from Ormax shows that action and crime thrillers on these platforms now comprise 43% of titles. Female-led narratives fell drastically from 31% in 2022 to just 12%.

Experts like Priyanka Basu suggest the industry’s struggles to center women reflect a broader societal issue. “Changes take time,” she explains. The film landscape remains male-dominated, primarily driven by economic pressures and audience preferences.

However, there’s hope on the horizon. Smaller regional films and indie projects are pushing boundaries. Recent successes like The Girlfriend and Bad Girl explore complex female identities, showing that there’s an audience for diverse narratives. This “quiet movement” is emerging from the margins, promising not just survival but a potential shift in Bollywood’s cultural fabric.

As audiences continue to express desires for varied stories, it seems only a matter of time before these new voices gain prominence. The rise of these films might reflect a changing society that’s slowly becoming more inclusive. While the big blockbuster may still rule, innovative storytelling is pushing through, and that’s a hopeful sign for the future of Indian cinema.

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