‘Perpetrators must see the damage and face consequences’

It has been a week since the release of the much-awaited Hema Committee report detailing the problems women in the Malayalam film industry have encountered, and the tremors are already there to be felt. The report, which comprised shocking revelations of sexual harassment and exploitation against women, has triggered the need for a complete revamp in the industry.

In the wake of the report’s findings and the volley of allegations that followed against some of the industry bigwigs, we talk to Aattam actor Zarin Shihab and marketing professional Sangeetha Janachandran, who is also WCC’s social media manager. The two speak about the practicality of implementing the committee’s recommendations, the changes they wish to see in the industry, and more.

Excerpts:

The Hema committee report has finally come out after a long wait. What’s the feeling like?

Zarin: It’s mixed emotions. There were a lot of setbacks, but now, as survivors, we feel people have finally started trusting us. It’s great that the report has been published, but it’s also crucial to follow it up with credible actions.

Sangeetha: When the report came out, WCC released a statement in which we used the word ‘vindicated’, and it’s perfect for defining our emotions now. Also, that post was the first in seven years without a single negative comment towards us. I see it as a first step towards change. We feel grateful and would like to acknowledge the media and all the allies who relentlessly stuck with us even when we were name-called, slut-shamed, and denied opportunities.

What’s the way forward? Is it just government intervention or are there other corrective measures needed?

Sangeetha: We have been speaking about the issues plaguing the industry since 2017 and it’s time for action. We need a solution-driven approach, with a joint effort from both the film bodies and government organisations to identify the areas to be rectified and the ways to do it. We need a systemic change starting from the basics — like making agreements mandatory to ensure fair pay and clarity of each person’s roles and responsibilities. Here, only top actors and technicians have that privilege.

We need to consider the data collection period, the submission period, and the changes that have come in the last five years since the report was submitted. That’s why I believe the cinema policy recommendations, shift-focused studies, and the work of many institutions and organisations that have conducted gender studies are important. If a cinema policy comes with government intervention, it will benefit everyone, both those working in front of the camera and those behind it.

Many say that the report’s findings are from five years back and that things have changed. Zarin, as someone who entered the Malayalam film industry recently, did you notice any difference between the report and the reality today?

Zarin: I definitely feel some improvement. Before I came here, I had spoken to some of my junior artist friends and the things they told me were very scary. I could sense the pathetic state of affairs — lack of a basic washroom or a facility to change costumes. But when I entered the industry, there were some improvements like getting timely food and transportation. But it’s solely based on my experience. The fact that I worked in Mumbai made people take me seriously.

Cinema has changed dramatically post-Covid. Do you think the industry is still as tainted?

Sangeetha: I had to once walk out of a project because its Internal Complaints Committee (ICC) comprised only the producer and his cousin. When I spoke against it, a senior production controller told me that I was being a troublemaker.

It was only during the pandemic that the situation got better, mainly because of the OTT surge, the arrival of production houses from outside Kerala, and many cross-industry collaborations. So I won’t say we’re stuck at some point. There’s a ripple happening. The KSFDC initiative to promote women filmmakers is itself a welcome change despite some teething issues.

There is a concern that the report may reinforce a perception that portrays all men as predators and suggests all women who survived in the industry have had to compromise…

Zarin: See, the conversation is still framed in binaries. The reality is that anyone, regardless of gender, can be a perpetrator or a victim. The informal nature of our industry is a key reason why such issues continue to arise. The moment multiple voices and agencies from diverse backgrounds and languages are involved, we will see the stability in the proceedings that we so desperately need.

Sangeetha: The change should be systemic. Once I had to work on a film headlined by a #MeToo accused. And the corporate involved was sensible enough that I didn’t have to fight a hard battle about promoting a known offender. But I cannot insist that everyone working on a film should have a clean record, as I don’t have that privilege. This is our only source of income, so we must continue working within set boundaries while finding a way to support survivors and promote cinema as an art form.

But, I feel that the public focus on sexual abuse is often exaggerated due to its shock value and the voyeuristic culture. Most people, including the media, are treating this report like a whodunit, which is unfortunate. The report is about much more than that, beginning with basic needs. 

Is it accurate to say individuals with the WCC have faced a loss of work opportunities?

Sangeetha: Absolutely. Whenever I attend meetings to discuss potential projects, I often hear from producers that others have warned them about me, saying I’m difficult to work with as I’m opinionated and have the so-called ‘problem of feminism.’ For them, feminism is a disease that will spread like a pandemic. I have heard comments like, ‘You’re a woman and you have an opinion?’

Feminism is a very misconstrued ideology. We don’t say women are better, we are only asking for equal spaces. Recently, someone told me that he looks after the safety of his female counterparts. The very fact that you have to take care of the safety of women around you speaks about the situation. If a particular space is safe, it has to be safe for all.

Zarin: I think we (women) are constantly negotiating. We have to get our work done and at the same time raise our voices against injustices. There are so many tasks we do side by side.

The government has promised a conclave with all industry stakeholders. What is your take on it?

Sangeetha: It is too soon for me to comment as we don’t know the details yet. If it is to discuss what needs to be implemented to rectify the issue, then I am all for it. The perpetrators must see what damage they have done and they should face the consequences.

Will it be possible to raise your concerns and discuss what needs to be done in the presence of perpetrators and the so-called powerful group?

Sangeetha: I don’t know who these people are. If they were that powerful, this revolutionary report would have never been published. But it did! I think that all decision-making bodies should have representations, which should include all genders.

Zarin: People might have several reasons for not opening up, especially as not everyone comes from a privileged background. They might worry that they would be eliminated or that their reputation and livelihood would get threatened. What happens to these unprivileged, faceless and nameless people? We have to speak for them too.

‘Public’s excess focus on sexual abuse is because of voyeurism’

The topics under discussion are not just about sexual abuse or the casting couch. Will these have a place for discussion in the conclave?

Zarin: Abuse comes in different ways — verbal, physical, and mental. Moreover, in cinema, it is difficult to define a workplace. For the top actors, mostly toilets would be available, and others would suffer. There are even sets that serve two kinds of food— one for the privileged and the other for the not so privieged. I know an actor who was once denied access to the toilet and other basic facilities for resisting inappropriate behaviour. She was forced to work without breaks, harassed, and labelled “arrogant”. This is why it’s important to talk about how we can ensure a safe work environment for women, access to basic facilities, working hours, pay, etc.

The same government, which had been sitting on the report for nearly five years, has to formulate a new policy. Do you trust them with it?

Sangeetha: I don’t want to politicise the whole thing. However, I think the policy recommendations submitted by WCC should be taken very seriously. 

Zarin: To change the system, we need to talk about it. While working here, I have seen that the hero is always called just before the shot so that he can make an entrance. His food will be served first, and an extra leg piece will be served to him. People may say these are trivial things. However, it shouldn’t be seen as complaining, but a reflection of the culture. When there is serious action from the government, cultural changes will follow.

Is it happening only in Malayalam cinema? 

Zarin: It happens everywhere. However, I noticed it more in Malayalam. In Mumbai, there are no budgetary constraints. When the luxury of money comes in all of these fall into place and these issues happen less. Anushka Sharma once said the male lead gets a better caravan and vanity. When she went on to the next set, the production asked her whether she was satisfied with the facilities. She was not talking about basic necessities but about luxury. If it matters to the hero, naturally it matters to us as well. We are part of the same industry and we deserve the same. 

Zarin, you started with Bollywood…

Zarin: My first project was Prime Video’s The Family Man. That was the first time I had seen a set. There was a structure to everything. They explained everything to me. It was a learning experience and I could use that in Kerala. People keep saying our industry is so informal, that it’s difficult to bring in structure because there is so much resistance. But if somebody can do it, we can as well.

How was your first experience in the Malayalam industry compared to the Bollywood one?

Zarin: It wouldn’t be fair to use that comparison as both industries operate on a different scale. I believe Malayalam cinema is trying to operate within the constraints, and yet, we are doing a fairly humane job. A few years ago, scripts would be pitched without mentioning intimate or nude scenes. Now, there is greater clarity at the audition stage itself. Many of my peers even include this in their contracts. Knowing these details upfront is important as it helps avoid any exploitation and allows us to focus on our work with peace. These are small changes, but they have so much impact.

You talked about pay parity. But isn’t pay decided based on market value?

Sangeetha: We are not talking about equal pay, but fair pay. We are aware of the market, satellite and commercial values. However, these are not limited to just actors, but technicians and others too. However, there is still no clarity on who decides how much to pay daily wage workers or on what basis. It’s imperative to ensure minimum wages for all. If all unions and associations come together and have an open conversation, there will be hope. 

AMMA and other organisations have said they will take action if any complaints are received… 

Sangeetha: It is a personal choice to file a legal complaint. We cannot insist that survivors, who have already endured a lot, should talk about their trauma again. Let them heal and live, and work with dignity. If someone wants to share what they experienced, don’t dismiss them. Now it is our turn to support and listen to them. This will help us ensure that people who wish to work in the Malayalam film industry will not have to go through the same. I believe it is insensitive to say, let them file a complaint.

Zarin: People expect victims to fall into a certain image. A lot of people, after watching Aattam, told me why Anjali didn’t pursue a legal route. You can’t predict a person’s response to a situation. For her, making a play was her way of processing it. That is her subjective interest and need. I think we hold movies and the industry far more accountable than our politicians. I don’t know why.

What other suggestions do you have for the industry based on your experience in the past five years?

Zarin: When men call out other men, it becomes a powerful statement and deterrent. When I was in Chennai, there was a #MeToo movement in our theatre group. And the director took a public stance saying he would hold people accountable. Because of that, all the perpetrators backed down. So, when men take that kind of step, it’s important. I hope, culturally, this change starts happening and accelerates.

Sangeetha: When I worked in a movie, a promotional prank triggered personal trauma for the heroine. She was crying in that video. In the WhatsApp group for decision-makers, including lead actors, I expressed my disagreement about releasing the content. Immediately, one of the actors shared a meme mocking me, and I was trolled. But when the hero said I had a point, everyone agreed and decided not to release the content. So, when we are in positions of power or decision-making, our ‘yes’ or ‘no’ can make a difference.

One recommendation in the report is to have contracts for everyone. Why is it taking so much time to implement this?

Sangeetha: I would not be able to provide a specific answer because I’m relatively new and not involved in any decision-making roles. From an outsider’s perspective, it shows the lack of accountability. Without a formal document or agreement, there’s no clear mechanism to hold one accountable. Many agreements and agreed-upon remunerations are not always honoured or enforced. These are questions that should be directed to the responsible organisations to address and resolve.

What do you think about Parvathy Thiruvothu’s contributions in the WCC?

Sangeetha: Personally, I respect her, as much as I love her. There is more respect for her persistence, strength and always standing her ground. Seeing her in films like Thangalaan, Manorathangal, and Ullozhukku has been moving. I remember crying when I saw the first-look poster of Ullozhukku with Urvashi and Parvathy — two women — prominently featured. It felt like a moment of celebration.

And when it comes to WCC, as musician Madonna once said, the most controversial thing we have ever done is stick around.