The Hema Committee Report, led by Justice K. Hema, investigated gender discrimination in the Malayalam film industry. Commissioned by the Kerala government, it exposed sexual harassment, lack of basic facilities, and systemic bias, recommending legal reforms and Internal Complaints Committees to protect women in cinema.

The Justice Hema Committee Report, submitted on December 31, 2019, stands as a landmark document in the history of Indian cinema, particularly within the Malayalam film industry.

Commissioned by the Government of Kerala, this comprehensive study was initiated in response to a petition by the Women in Cinema Collective (WCC), a group formed in May 2017 to advocate for the rights and welfare of women in the industry.

Chaired by Justice K. Hema, a former judge of the High Court of Kerala, and including members Smt. T. Sarada (a cine artist) and Smt. K.B. Valsalakumari (a retired IAS officer), the committee was tasked with examining the multifaceted issues faced by women in cinema and proposing actionable solutions.

The report unveils the stark realities beneath the glamour of the film industry, exposing systemic gender inequities, workplace exploitation, and a pervasive culture of silence that stifles grievances.

In this article, we will analyze the complete report, its findings, methodologies, challenges, and recommendations, offering a critical perspective on its implications for gender justice in the Malayalam film industry.

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Background and Formation of the Committee

The formation of the Justice Hema Committee was a direct response to the advocacy efforts of the WCC, which brought the plight of women in the Malayalam film industry to the attention of Kerala’s Chief Minister, Sri Pinarayi Vijayan.

The WCC highlighted a range of issues, including gender bias, sexual harassment, lack of safety, and the absence of grievance redressal mechanisms. The committee was constituted on November 16, 2017, with a mandate to study these problems and suggest solutions.

This initiative marked a pioneering effort by a state government in India to formally investigate gender-related challenges in the film industry, setting a precedent for addressing systemic issues in a sector often shrouded in secrecy.

The committee’s Terms of Reference (TOR) outlined specific areas of focus, including:

1. Issues faced by women in cinema, such as safety and security.
2. Service conditions and remuneration disparities.
3. Measures to enhance women’s participation in all fields of cinema.
4. Strategies to increase women’s involvement in technical roles through concessions and scholarships.
5. Support mechanisms for women absent from work due to delivery, childcare, or health issues.
6. Ensuring gender equality in cinematic content.
7. Encouraging films with at least 30% women in production activities.

These objectives reflect a comprehensive approach to tackling both workplace conditions and representational issues in cinema.

Methodology of the Study

The committee adopted a rigorous methodology to ensure its findings were based on direct evidence rather than hearsay. Key methods included:

• Questionnaire Distribution: A detailed questionnaire, based on the TOR, was sent to 40 members of the WCC across various roles, such as actors, directors, producers, scriptwriters, cinematographers, and hairstylists. By July 5, 2018, 32 members responded, providing critical insights into the issues faced by women in the industry.
• Group Meetings: Two group meetings were held with WCC members, involving 31 women from diverse roles, including actresses, directors, cinematographers, and costume designers. These meetings allowed for open discussions on workplace challenges, with participants encouraged to share sensitive issues privately if needed.
• Individual Interviews: The committee conducted “in camera” interviews with both men and women in the industry to capture a range of perspectives. These sessions were held in absolute privacy to protect the identities of witnesses, many of whom feared retaliation.
• Public Notice: A public notice was published in a Malayalam daily, inviting individuals to share their experiences, though it received no responses, underscoring the fear of speaking out.
• WhatsApp Groups: The committee created WhatsApp groups for different categories of women in cinema to facilitate communication, though some groups, particularly dancers, saw members leave due to external pressures.
• Site Visits: The chairperson and a member visited the shooting location of the film Lucifer and Chithranjali Studio to observe working conditions firsthand.
• Document Collection: The committee gathered extensive documentary evidence, including audio clips, video clips, WhatsApp screenshots, and bylaws from industry associations like AMMA (Association of Malayalam Movie Artists) and FEFKA (Film Employees Federation of Kerala).

The emphasis on confidentiality was paramount, given the sensitive nature of the allegations and the potential for backlash. The committee avoided media interactions to prevent leaks and ensured that witness identities were protected in the report.

Challenges Faced by the Committee

The committee encountered significant obstacles in its work, which highlight the entrenched power dynamics and fear within the industry:

#1 Reluctance to Speak

Many individuals, particularly junior artists and dancers, were hesitant to share their experiences due to fears of losing work opportunities.

For instance, dancers left a WhatsApp group created by the committee, reportedly under instructions not to speak out. Junior artists cited similar fears, with some refusing to appear even after government directives to include their issues in the study.

#2 Logistical Issues

Collecting accurate contact details for industry professionals was time-consuming, and many were unavailable due to their busy schedules or outdated contact information. Serving notices was challenging due to the lack of an office attendant, and the committee resorted to hiring a daily-wage assistant for personal deliveries.

#3 Geographical Constraints

With members based in Chennai, Thiruvananthapuram, and Kochi, coordinating meetings was difficult. The committee could only convene for three to four days a month, excluding travel time, which limited the frequency of witness examinations.

#4 Confidentiality Concerns

The sensitive nature of the testimonies required absolute confidentiality, but the committee struggled to find a stenographer with computer skills who could maintain this trust. As a result, the members typed the report themselves, a tedious task given their lack of professional typing skills.

#5 External Pressures

The committee faced misleading media reports claiming it was dysfunctional, which could have undermined its credibility. Despite this, it maintained a low profile to focus on its mandate.

These challenges reflect the broader culture of silence and fear that the committee sought to address, making its work both groundbreaking and arduous.

Findings: Issues Faced by Women in Malayalam Cinema

The report identifies a litany of issues faced by women in the Malayalam film industry, painting a grim picture of systemic exploitation and gender discrimination. These issues include:

#1 Sexual Harassment and Exploitation at Entry and the Workplace

One of the most damning revelations is that women face sexual demands even before entering the industry. The report documents that aspiring female actors and technicians are often asked to “adjust” or “compromise”, euphemisms for providing sexual favors, in exchange for work. These demands may come from producers, directors, coordinators, or even lower-level intermediaries.

“Compromise and adjustment are terms every woman in the Malayalam film industry understands. They’re normalized and weaponized to coerce.”

–Report Testimony

Testimonies showed that many women were deliberately misled by fake auditions, only to discover they were traps for sexual exploitation. Shockingly, some women were accompanied by their family members, but even that didn’t deter predatory behavior.

Workplace Harassment:

Once within the industry, the harassment continues:

• Unwanted physical advances, including touching and propositioning during shoots.
• Sexualized comments and lewd jokes on set.
• Inappropriate behavior in hotel rooms and at night shoots.
• Pressure to agree to private meetings with influential men under the pretext of career advancement.

The report found that resisting such advances often resulted in:

• Loss of work or being unofficially blacklisted.
• Verbal abuse and victim-blaming.
• Exclusion from future projects, especially by tightly knit male-dominated groups.

#2 Violation of Human Rights: No Toilets or Changing Rooms

Women, including lead actresses, junior artists, hairstylists, and assistants, did not have access to basic sanitation facilities while working:

• Toilets were absent on outdoor shooting sets.
• Women had to relieve themselves in forests or behind trees.
• There were no designated changing rooms, forcing them to change behind held-up cloths or inside vehicles.

This situation led many to:

• Avoid drinking water to reduce the urge to urinate, leading to urinary tract infections and other health problems.
• Face menstrual hygiene challenges with no facilities for changing or disposing of sanitary napkins.

Despite these obvious violations, male producers and artists dismissed the need for toilets, citing cost or claiming that women had “managed without” for decades.

“Women do not drink water during shoots. This is not by choice but by lack of dignity.”

 -Female Witness

The committee found that these are gross violations of Article 21 of the Indian Constitution, which guarantees the right to life with dignity.

#3 Absence of Internal Complaints Committees (ICCs)

In violation of the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 (POSH Act):

• Most production units did not have ICCs.
• Major organizations such as AMMA and FEFKA were also non-compliant.
• There was no grievance redressal forum accessible to women.

This legal failure left women with no institutional support. Even women who knew their rights chose silence, fearing loss of work and social stigmatization.

“Women cannot complain. If she does, she is the problem, not the perpetrator.”

-Committee Summary

#4 Online and Cyber Harassment

The report documented shocking instances of cyberbullying, including:

• Threats of rape and murder.
• Posting of pornographic images and explicit language.
• Deepfake videos falsely portray actresses in compromising positions.
• Publicly circulating screenshots, chat logs, and edited images to malign reputations.

The abuse was often instigated or encouraged by fan clubs or supporters of prominent male figures in the industry. This form of harassment had tangible consequences:

• Emotional trauma
• Withdrawal from public life
• Depression and mental health deterioration

Importantly, cyber harassment extended beyond work-related conflicts and targeted women who spoke out about workplace harassment or gender issues.

#5 Systemic Silencing and Retaliation

Witnesses recounted a well-oiled system of silencing dissent, including:

• Blacklisting actors who resisted advances or spoke about injustices.
• Informal “bans” enforced by industry cliques.
• Pressure on unions and coordinators not to support such women.
• Intimidation of male supporters, some of whom were also blacklisted.

Several men admitted to the committee that even they were banned or marginalized for petty reasons, indicating a concentrated power structure controlled by influential individuals and groups.

“If you speak, you’re out. It’s that simple.”

-Male Artist Testimony

#6 Severe Gender-Based Pay Disparity

Women, regardless of seniority or talent, were systematically underpaid:

• Actresses received less than half the remuneration of their male counterparts.
• Technicians, makeup artists, and hairstylists faced even worse disparities.
• There was no transparency in pay scales, and many women were paid arbitrarily or not at all.

Additionally:

• There were no formal contracts in many cases.
• Payments were delayed or denied without explanation.
• Male counterparts were often given bonuses, per diems, or transportation allowances, while women were not.

This unequal pay structure perpetuates financial dependence and powerlessness, making women more vulnerable to exploitation.

#7 Exclusion from Technical and Leadership Roles

Women were severely underrepresented in key creative and technical roles:

• Direction, cinematography, editing, music, and sound engineering were almost entirely male-dominated.
• Women who attempted to enter these fields were often discouraged, mocked, or denied opportunities.

The report attributes this exclusion to:

• Gender stereotyping (“technical work is for men”).
• Lack of training opportunities and scholarships for women.
• Absence of role models and mentoring structures.

It notes that empowering women in these areas would transform not only workplace equity but also the content of films themselves.

#8 Content and Representation in Cinema

The report critiques the deeply misogynistic representation of women in Malayalam cinema:

• Female characters are often one-dimensional, serving as romantic interests or victims.
• Sexual objectification is common, especially in song sequences.
• Themes of female revenge or empowerment are rare.

The committee suggests that increasing female participation behind the camera, as writers, directors, and producers, would lead to more nuanced, respectful portrayals of women.

#9 Neglect of Marginalized Workers: Junior Artists and Dancers

The committee made special mention of the plight of junior artists and female dancers, many of whom:

• Lacked contracts or consistent pay.
• Faced extortion from coordinators and union leaders.
• Were reluctant to speak to the committee due to fear of job loss.

Some junior artists reportedly slept on sets, worked without breaks, and were subjected to verbal and physical abuse. They were also frequent targets of sexual exploitation due to their vulnerable position.

Despite their numbers, these women remain invisible and unprotected.

#10 Lack of Awareness of Legal Rights

The committee found a widespread lack of awareness among women in cinema about:

• The POSH Act and their right to a harassment-free workplace.
• Their right to equal pay and contractual transparency.
• Legal recourse is available in cases of assault or abuse.

Most women chose silence over legal action due to:

• Fear of retaliation
• Lack of faith in institutional support
• Social stigma and online harassment

Specific Issues by Category

The report identifies 30 categories of women in cinema, including actresses, producers, directors, cinematographers, costume designers, and junior artists.

However, certain groups, such as dancers and junior artists, were particularly reluctant to speak out due to fears of losing work.

Junior artists, in particular, face severe exploitation, with coordinators often controlling their opportunities and silencing complaints. The committee’s inability to secure direct testimonies from these groups underscores the pervasive fear within the industry.

Recommendations from the Justice Hema Committee Report

The Justice Hema Committee proposed a comprehensive set of recommendations to address these issues, focusing on systemic change, gender equity, and empowerment. These are categorized according to the TOR:

#1 Mandatory Establishment of Internal Complaints Committees (ICCs)

Rationale: The report highlighted widespread sexual harassment in the film industry and the complete absence of Internal Complaints Committees (ICCs) in most production units and film organizations, in violation of the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 (POSH Act).

Recommendations:

• Every film production house, association (such as AMMA, FEFKA), and training institute must establish an ICC.
• The government should issue mandatory compliance guidelines, along with periodic audits by a designated authority.
• ICCs should include external experts (legal or NGO representatives) to ensure impartiality.
• All ICCs must maintain strict confidentiality and ensure victim-friendly procedures.
• Non-compliance should result in denial of government subsidies or screening permits.

#2 Provision of Basic Facilities Like Toilets and Changing Rooms

Rationale: The lack of toilets and changing rooms was termed a gross violation of basic human rights, especially affecting women during menstruation and long outdoor shoots. Many reported urinary tract infections and health issues from avoiding water intake.

Recommendations:

• No shooting permit should be issued unless the production unit certifies that adequate sanitation and changing facilities are provided.
• Mobile E-toilets or rented caravans should be made compulsory for every outdoor shoot.
• Changing rooms must be designed to ensure privacy and protection against voyeurism, including regular checks for hidden cameras.
• Periodic inspection by a government-appointed cell should monitor compliance.

#3 Implementation of Written Employment Contracts

Rationale: Women reported that verbal agreements often led to non-payment, underpayment, or abrupt termination. The absence of written contracts increases exploitation and denies legal remedy.

Recommendations:

• All employment in film and television, including technicians, artists, and junior crew, must be based on written contracts.
• The contract must include:
  • • Scope of work
    • Duration
    • Remuneration
    • Work hours
    • Terms for grievance redressal
• A copy should be registered with a state-appointed Film Employment Board.

#4 Equal Pay and Wage Transparency

Rationale: There was consistent evidence of gender-based pay disparity. Even when women performed similar or more demanding roles, they were paid significantly less than their male counterparts.

Recommendations:

• Implement guidelines for minimum standard wages across categories (e.g., actors, technicians, assistants).
• Enforce equal pay for equal work, with periodic wage audits.
• Wage slabs should be made public on government/industry portals to promote transparency.

#5 Safety Measures in Transport and Accommodation

Rationale: Many women faced harassment during commutes and at lodging facilities. Women were often accommodated in isolated hotels or forced to share unsafe transport late at night.

Recommendations:

• Production houses must ensure:
  1. 1. Safe and secure transportation (preferably gender-segregated or women-only when needed).
     2. Well-lit, CCTV-monitored, and secure accommodations.
     3. Availability of a female coordinator or safety officer on each set.
• Emergency contact numbers, grievance helplines, and safety protocols should be visibly posted on sets and lodging facilities.

#6 Encouragement of Women in Technical Roles

Rationale: Women are underrepresented in technical roles such as cinematography, sound design, editing, direction, and production control. Gender bias and lack of training opportunities have prevented their growth.

Recommendations:

• The government should introduce scholarships, fellowships, and grants for women in technical fields related to cinema.
• Film training institutes should reserve at least 30% seats for women in technical courses.
• Create mentorship programs pairing young female technicians with established professionals.
• Film awards and grants should include special recognition for films with diverse technical crews.

#7 Childcare and Maternity Support

Rationale: Women often exit the industry due to lack of maternity benefits or childcare support. Re-entry becomes difficult without institutional support.

Recommendations:

• Provide maternity leave and health insurance in line with national laws.
• Set up on-site crèche facilities during long shooting schedules.
• Introduce government-backed re-skilling or re-entry programs for women returning to work post-childbirth.

#8 Gender Sensitization and Legal Awareness Programs

Rationale: The report noted that many women were unaware of their rights, and many men failed to recognize inappropriate behavior as harassment.

Recommendations:

• Mandatory gender sensitization workshops for all cast and crew before the start of production.
• Conduct POSH Act awareness sessions for both men and women, focusing on how to identify and report harassment.
• Government and film bodies to fund periodic campaigns promoting respectful workplace behavior.

#9 Protection of Whistleblowers and Survivors

Rationale: Many victims feared backlash, cyberbullying, and blacklisting if they spoke out. Several testimonies mentioned powerful industry lobbies suppressing complaints.

Recommendations:

• Implement anti-retaliation clauses in production policies.
• Establish a Whistleblower Protection Unit in the Department of Culture.
• Provide legal aid, counseling services, and financial support for survivors who pursue complaints.
• Encourage anonymous reporting through official online platforms.

#10 Cyber Harassment Monitoring Cell

Rationale: Online abuse, including threats of rape, doctored videos, and character assassination, was common against women who spoke out.

Recommendations:

• Establish a dedicated cyber cell under the Kerala Police to track and act against online abusers.
• Collaborate with social media platforms to report and remove abusive content swiftly.
• Victims should be able to file complaints online and receive legal guidance.

#11 Transparent Governance of Film Associations

Rationale: Bodies like AMMA and FEFKA were seen as lacking transparency and fairness, often protecting accused perpetrators due to internal politics.

Recommendations:

• Amend by-laws of associations to mandate gender-balanced governing bodies.
• Require associations to make annual reports public, including details on grievance redressal.
• Introduce independent oversight of elections and internal decisions.

#12 Incentivize Gender-Inclusive Productions

Rationale: Films with women in leadership and technical roles are rare. The industry must be nudged toward inclusion.

Recommendations:

• Offer state financial incentives (like subsidies, tax waivers, or grants) for productions that:
  1. 1. Have women in 30% or more of technical roles.
     2. Address gender issues in content meaningfully.
• Partner with film festivals and studios to promote such gender-sensitive films.

#13 Permanent Monitoring Authority

Rationale: Once the committee disbands, the momentum for reform may be lost. A permanent body is needed to oversee compliance and act on new issues.

Recommendations:

• Constitute a Film Industry Women’s Welfare Board under the Department of Cultural Affairs.
• Board to:
  1. 1. Monitor ICCs and workplace safety.
     2. Conduct audits and publish annual compliance reports.
     3. Handle unresolved grievances and advise on policy changes.

#14 Inclusion of Women in Policy-Making

Rationale: Most film policy decisions are made by male-dominated committees.

Recommendations:

• All state-level cinema policy committees must include at least 40% representation of women, especially from marginalized sections.
• Women must be consulted in draft legislation or policy changes impacting the film industry.

The Role of WCC and Industry Response

The Women in Cinema Collective (WCC) emerged as a watershed development in the history of Malayalam cinema. Formed in May 2017, WCC was born out of a moment of collective anguish and resilience following the brutal abduction and sexual assault of a leading actress, a case that shook the industry and the broader public.

What distinguished this incident was not only its severity but the fact that it was one of the rare instances where a survivor dared to file a police complaint, triggering widespread media coverage and legal proceedings.

In an industry long characterized by silence and complicity, WCC marked the first organized, vocal, and sustained effort by women professionals to challenge entrenched power structures and demand systemic change.

Comprising actors, directors, technicians, and other women working in various capacities in the Malayalam film industry, WCC’s formation was both a symbolic and strategic milestone. It signaled a refusal to normalize harassment and exploitation and called for a comprehensive overhaul of how the film industry treats its women.

Contributions and Activism

The WCC submitted a petition to the Chief Minister of Kerala, outlining the various challenges faced by women in cinema. The petition demanded:

• Formation of an expert committee to study gender discrimination in Malayalam cinema.
• Establishment of Internal Complaints Committees (ICCs) in all production units and industry associations.
• Enforcement of workplace safety standards, including basic facilities like toilets and changing rooms.
• Representation of women in decision-making bodies within the industry.

Their efforts directly led to the constitution of the Justice Hema Committee by the Government of Kerala, a first-of-its-kind initiative in India. The WCC’s persistence ensured that the conversation about women’s safety and dignity in cinema moved beyond private whispers and entered the public and political domain.

WCC also launched several awareness campaigns, conducted panel discussions, and created online forums to document experiences of harassment and exclusion. They became a safe space for women to speak out, often for the first time, about their experiences. The WhatsApp group run by WCC, for example, allowed women to share testimonies that were later presented, anonymously, to the Hema Committee as evidence.

Challenges Faced by WCC

Despite their brave stance, WCC members faced enormous backlash from within the industry. They were:

• Labeled as “troublemakers” or “disruptors of harmony.”
• Marginalized within industry organizations like AMMA (Association of Malayalam Movie Artists).
• Targeted through online trolling, cyberbullying, and media slander.
• Threatened with professional ostracism and legal intimidation.

In fact, one of the most egregious retaliatory actions was the reinstatement of a leading actor accused in the 2017 sexual assault case back into AMMA, despite ongoing legal proceedings. WCC members vocally opposed this move, and in protest, a few of them resigned from AMMA. This act of reinstatement without justice being served further underlined the deep-rooted misogyny and lack of accountability within major film bodies.

Response from Industry Stakeholders

The Justice Hema Committee Report is scathing in its criticism of the lukewarm and sometimes hostile response of mainstream industry bodies such as:

• AMMA (Association of Malayalam Movie Artists)
• FEFKA (Film Employees Federation of Kerala)
• Producers’ and Distributors’ Associations

These bodies, according to the report, were either apathetic or deliberately evasive in addressing the issues raised. Many influential members were unwilling to publicly support reforms that might challenge the patriarchal status quo.

Even when certain representatives appeared before the committee, their testimony often sought to downplay the severity of harassment or shift blame to external factors, such as “fake producers” or “unscrupulous newcomers.”

Some even suggested that sexual harassment was a problem in every industry and should not be exaggerated in cinema, revealing an unwillingness to confront the unique vulnerabilities of women in this field, especially in freelance, informal, and precarious work environments.

Institutional Resistance

The report notes that despite repeated calls for institutional reform, many production houses and associations failed to set up ICCs, even though it is a legal requirement under the POSH Act, 2013. The lack of formal grievance redressal mechanisms created a climate of impunity, where perpetrators could continue to harass or exploit women without fear of repercussions.

Moreover, women were often excluded from key decision-making roles, and technical departments remained male-dominated. Even as women proved their mettle in various creative and managerial roles, entrenched biases kept them away from directing, cinematography, editing, and sound design.

The WCC’s Impact on the Report and Beyond

Without the efforts of the WCC, many of the harrowing testimonies that formed the core evidence of the Justice Hema Committee Report would have remained untold. The Committee explicitly acknowledges the role of WCC in facilitating access to women across categories like, actors, hairstylists, costume designers, producers, and assistant directors, many of whom came forward for group and private meetings, or filled out detailed questionnaires.

The Committee also credits WCC with raising collective consciousness among women in cinema, many of whom had suffered in silence for decades. It was through WCC’s support network that women began to identify, articulate, and resist the normalized violence and inequality in their profession.

The Hema Committee Report recommends that the government actively involve WCC and other women’s bodies in developing and monitoring new policies for the film industry. It suggests:

• Mandatory representation of women in all film-related policy bodies.
• Formal recognition of WCC or equivalent women-led groups as stakeholders.
• Periodic government-led reviews, in consultation with women’s groups, to track the implementation of ICCs and safety protocols.

Implications and Significance of the Justice Hema Committee Report

The Justice Hema Committee Report is a groundbreaking effort to dismantle the systemic barriers faced by women in the Malayalam film industry. Its findings expose a stark contrast between the industry’s glamorous facade and the harsh realities of exploitation, discrimination, and silence. By documenting issues like the lack of basic facilities, sexual harassment, and unauthorized bans, the report challenges the industry’s status quo and calls for structural reforms.

The recommendations, if implemented, could transform the industry into a more equitable and safe space. The proposed tribunal, welfare fund, and gender-balanced decision-making bodies address the power imbalances that perpetuate exploitation. The emphasis on increasing women’s participation, particularly in technical roles, and promoting gender-just content aligns with broader societal goals of equity and representation.

However, the report’s impact depends on its implementation. The committee’s challenges in gathering testimonies highlight the industry’s entrenched power dynamics, suggesting that change will require sustained political will and industry cooperation. The government’s role in establishing a film policy, funding training programs, and enforcing regulations is critical to translating the report’s recommendations into reality.

Conclusion

The Justice Hema Committee Report is a landmark investigation into gender inequality in Malayalam cinema, exposing systemic harassment, lack of safety, and institutional failures. It recommended legal reforms, mandatory Internal Complaints Committees, and improved working conditions to ensure dignity, safety, and equality for women in film.

The Justice Hema Committee Report is both a mirror and a roadmap. It reveals the deep rot in an industry that often escapes scrutiny under the veil of glamour. At the same time, it offers a path forward, grounded in law, equity, and empathy. Implementing its recommendations is not merely a matter of policy but a moral imperative.

Kerala took a bold step by commissioning this report. The onus now lies on industry stakeholders and the government to honor the findings, institutionalize reforms, and ensure that the film industry becomes a place where talent, not gender or acquiescence, determines success.

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