Janhvi Kapoor Film Peddi Sparks Criticism in Koramangala Over Objectification

Following its recent release, the Telugu commercial film *Peddi* has sparked critical discussions in Koramangala, Bengaluru, regarding the objectification of female actors and the prevailing 'male gaze' in mainstream cinema.
The film, which stars actress Janhvi Kapoor, has drawn attention for the stark contrast in how she is depicted compared to her roles in Hindi films like *Mili* and *Gunjan Saxena: The Kargil Girl*, where she portrayed characters with agency, ambition, and emotional depth. In *Peddi* and *Devara: Part 1*, Kapoor's portrayal has been criticized for reducing her to a visual commodity.
Critics point out that the camera in *Peddi* frequently acts as an intrusive gaze rather than a tool for storytelling. The visual language of the film repeatedly fragments her body, focusing on her waist and chest instead of engaging with her character as a person.
Furthermore, the narrative uses sexual violence against Kapoor's character as a plot device to motivate the male protagonist's actions and moral crusade. When she confronts him about her trauma, his justification—that violence is his way of expressing love—is presented as something to be understood and accepted. This framing has been criticized for romanticising behavior from the protagonist that would be deemed monstrous if committed by a villain.
While performers are often accused of 'selling out' for high-paying roles opposite major stars like Ram Charan or N T Rama Rao Jr., observers note this ignores the systemic machinery of the film industry. For many actresses, entering the high-budget Telugu commercial ecosystem is a strategic choice to gain visibility and box-office legitimacy, which often comes at the cost of their character's narrative depth.
Under this implicit bargain, actresses frequently become glamorous interludes between action sequences, with their roles carefully calibrated to enhance the male hero's appeal rather than establish their own narrative presence.
