The recently published K. Hema Committee report has shed light on the grim realities faced by women in the Malayalam film industry. Five years after its submission to the Kerala government, the comprehensive 235-page document highlights numerous disturbing issues including sexual exploitation, illegal bans, discrimination, substance abuse, wage disparity, and in some cases, inhuman working conditions.
The report, released after careful redaction of the names of both the witnesses and the accused, depicts the Malayalam film industry being controlled by a cohort of male producers, directors, and actors. This power bloc, which a prominent actor has described as a “mafia,” has the authority to ban any individual from the industry, effectively ending their career.
One of the significant revelations of the report is the confirmation of the “casting couch” practice. Unlike many other professional fields, sexual harassment in the Malayalam film industry often begins even before a woman secures a job. Well-known industry figures demand sexual favors in exchange for roles or opportunities. The committee received several video clips, audio recordings, and screenshots of WhatsApp conversations serving as evidence of these casting couch attempts.
The report recounts harrowing tales of women feeling unsafe in their accommodations during film shoots. There have been instances where men in inebriated conditions would knock on doors late at night, trying to force their way in. One particularly traumatizing episode involved an actress who had to perform the role of the wife of her abuser the very next day after an assault, causing her significant psychological distress. Furthermore, there is a prevalent myth perpetuated by industry insiders that successful women climbed the ladder through “compromises,” which only adds to the pressure faced by newcomers.
Fear permeates the industry, with many unwilling to disclose their experiences because of potential repercussions. This fear is not unfounded; the report highlights concerns for the safety of those who testified, including their close relatives. The gravity of the situation is such that many victims have not disclosed their ordeal even to their families. The reluctance to approach law enforcement is widespread, stemming from fears of backlash from powerful industry figures and the potential for cyberattacks due to their public profiles.
When the Hema Committee attempted to engage with dancers and junior artists in the industry through a WhatsApp group, most participants left the group upon learning about the committee’s goals. This reaction underscores the level of fear and intimidation that exists within the industry, particularly among junior artists who are often the most exploited.
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The influence of a powerful “power group” within the industry extends to banning actors who fall out of favor with them. Even the release of films can be obstructed as the Film Chamber of Commerce requires a no-objection certificate (NOC) for movie releases. Production controllers also play a significant role in getting people banned from the industry. Members of the Women in Cinema Collective (WCC), a group established to fight against these atrocities, have themselves been blacklisted because of their activism.
Basic amenities like changing rooms and toilets are often unavailable on sets, particularly in outdoor locations, leading to health issues like urinary infections among women. According to the report, some men, including a prominent actor, downplayed these concerns, suggesting that they need not be taken seriously.
The report exposes the severe exploitation faced by junior artists, some of whom work up to 19 hours a day in conditions “worse than slaves.” Intermediaries frequently misappropriate their payments, which are often delayed. In one heartbreaking instance, a 70-year-old woman who suffered severe burns on a film set during a big-budget movie was denied financial assistance for medical treatment. Junior artists are also excluded from any film organization memberships, compounding their vulnerability.
In the absence of written contracts, actors and technicians are often cheated out of promised remuneration. For example, the report sheds light on an actress who was pressured to perform more revealing scenes than initially agreed upon. When she refused and left the set, the director threatened not to delete the intimate scenes already filmed unless she personally visited Kochi.
The plight of assistant and associate directors is equally dire. They receive meager pay despite months of continuous work, lack daily allowances, and their strenuous pre-production efforts are not recognized as legitimate work. One case cited in the report involves a woman scriptwriter whose work, themed around gender justice, was so distorted by the director that she hesitated to take credit.
The Hema Committee casts doubt on the effectiveness of Internal Complaints Committees (ICCs) within the industry, pointing out that powerful individuals can coerce ICC members to handle complaints in a way that aligns with their interests. Concerns about the confidentiality of information disclosed to the ICCs further discourage complainants from coming forward. The committee recommends that the government enact appropriate legislation and establish a tribunal to address the myriad issues women face in the film industry.
