Queer Beginnings: First Representations of Homosexuality in Bollywood and Hollywood and Their Cinematic Trajectories.

The term “queer cinema” typically refers to films that explore themes, portray people, and depict experiences related to the LGBTQ+ community. In the 1990s, the “New Queer Cinema” (NQC) movement gained recognition and brought queer stories into mainstream discussions. This movement, composed largely of independent and experimental films, challenged heteronormative narratives and provided a radical counterpoint to conventional storytelling. Scholars note that queer cinema does not merely document sexuality, but rather offers a broader awakening of identities and perspectives that have historically been silenced or distorted. By drawing from post-structuralist and performative theories, particularly Judith Butler’s notion of identity as something enacted through repeated actions, queer cinema demonstrates how gender and sexuality are fluid and dynamic, shaped by lived practices rather than fixed categories . Globally, queer representation has been diverse and evolving. Films such as Pink Narcissus (1971) and Sunday Bloody Sunday (1971) marked early efforts to depict queer lives directly, while the AIDS crisis of the 1980s prompted landmark films like Parting Glances (1986) and Longtime Companion (1989). By the 1990s, films such as My Own Private Idaho (1991) and Priscilla, Queen of the Desert (1994) highlighted new forms of visibility. Later, critically acclaimed works like Brokeback Mountain (2005), Moonlight (2016), and Call Me by Your Name (2017) cemented queer cinema’s place in global film culture. These works collectively illustrate how cinema has functioned both as a site of resistance and as a mirror of evolving social attitudes. In India, queer cinema has had a more contentious trajectory. Deepa Mehta’s Fire (1996) was one of the earliest films to openly depict a lesbian relationship, sparking protests and widespread controversy, yet it also became a turning point in bringing queer issues into public discourse. Later films such as My Brother…Nikhil (2005) sensitively portrayed themes of homosexuality and HIV, while mainstream productions like Dostana (2008) began to introduce queer identities, albeit often through comedy or stereotypes. The striking down of Section 377 of the Indian Penal Code in 2018 ushered in a new wave of acceptance, with films like Ek Ladki Ko Dekha To Aisa Laga (2019), Shubh Mangal Zyada Saavdhan (2020), Chandigarh Kare Aashiqui (2021), and Badhaai Do (2022) offering more nuanced, empathetic portrayals of queer love and identity . With the rise of OTT platforms, representation has grown more complex and inclusive. Web series like Made in Heaven (2019, 2023) provide layered depictions of queer relationships, not only addressing personal struggles but also situating them within broader social contexts of family, class, caste, and tradition. For example, the character Karan Mehra navigates acceptance, rejection, and familial conflict, reflecting the ongoing struggles of queer individuals in Indian society. Such portrayals underscore that queer cinema is not only about identity politics but also about lived realities, resilience, and the quest for belonging.