Idhi Katha Matramena

这部即兴创作的短篇小说电影被亲切地称为尤甘塔拉的“热门”电影。^{自编x2698601}印度非常活跃的自主妇^{自编x269860c}运动中，Yugantar与研究和女权主义者活动家团体Stree Shakhti Sanghatana合作，由于迫切需要扩大关于家庭暴力的论述和政治实践而受到鼓舞。在一个意识提升的强烈时期，两个集体的成员分享了^{自编x2698603}们自己对家庭暴力的不同和多层次的经历，创作了一部以孤独和抑郁为中心的^{自编x2698600}本，同时也在表达自己的处境和寻求女性支持的过程中发展^{自编x2698609}一个复杂的女性角色。友谊。考虑到当时印度其他小说电影中女性角色的规定画面，伊迪·卡塔玛特拉梅纳从根本上扩展了女性作为受害者和主体的形象。这部电影广为传播，对不同的女性观众进行了有力的演^{自编x2698607}，并引发了女权主义者之间的争论。在一周内拍摄，资源有限，并由集体成员制定，这部电影的能力，以多种经验说话似乎同样强大的今天。

This short improvised fiction film is affectionately called Yugantar’s ‘hit’ film. In the midst of the very active autonomous women’s movement in India, Yugantar collaborated with the research and feminist activist collective Stree Shakhti Sanghatana, provoked by an urgency to broaden discourses and political practice on domestic violence. Through an intense period of a consciousness raising style sharing of their own varied and multi-layered experiences of domestic violence, members of both collectives created a script that focuses on isolation and depression while also developing a complex female character in the process of articulating her situation and finding support in female friendship. Given the prescribed screen presence of female characters in other Indian fiction films at the time Idhi Katha Matramena radically expands the figure of woman as victim and subject. The film travelled extensively, spoke powerfully to diverse female audiences and sparked debates amongst feminist activists. Filmed within one week, with limited resources and enacted by members of the collectives, the film’s capacity to speak to multiple experiences appears equally strong today.