For decades, Hollywood clung to the idea that only male-led blockbusters could guarantee success. But that myth is rapidly crumbling. From Barbie and Wonder Woman to Gangubai Kathiawadi and Hi, Mom, female-led films are not just smashing box office records but also becoming cinematic game-changers. Audiences worldwide are embracing powerful female protagonists, proving over and over again that women aren’t just side characters in cinema’s biggest spectacles: they’re the main event.
One of the biggest and visible examples of this shift came in 2023 with Barbie, directed by Greta Gerwig and starring Margot Robbie. The film became a cultural phenomenon, grossing over $1.4 billion worldwide, making it the highest-grossing film of the year. Beyond its box office dominance, Barbie challenged stereotypes, delivering a witty yet poignant critique of gender roles while celebrating female empowerment.
Superhero films, again a traditionally male-dominated genre, have also seen a slow yet massive transformation. Wonder Woman, starring Gal Gadot and directed by Patty Jenkins, was a massive hit, earning $822 million globally. It proved that a female-led superhero film could be both critically acclaimed and commercially successful, paving the way for movies like Captain Marvel, which grossed $1.1 billion, and Black Widow, starring Scarlett Johansson, which dominated streaming and theatrical revenues.
Bollywood's leading ladies turned box office powerhouses
The change isn’t just happening in Hollywood. Bollywood and Mollywood industries have seen a surge in successful female-led films. Sanjay Leela Bhansali’s Gangubai Kathiawadi , starring Alia Bhatt, was a game-changer. Based on a real-life story, the film showcased a woman’s rise to power in a male-dominated world and earned ₹209 crore ($25 million) globally again proving that audiences are eager for narratives centred on strong female protagonists.
Similarly, Darlings, a dark comedy starring Alia Bhatt and Shefali Shah, tackled the sensitive issue of domestic violence while performing well on Netflix. The film was praised for its unique and contemporary storytelling and strong female performances. Other Bollywood successes include Vidya Balan’s Kahaani, Taapsee Pannu’s Thappad, and Kangana Ranaut’s Queen, all proving that female-led narratives did resonate with audiences.
The Malayalam film industry, known for its realistic storytelling, has also embraced strong female leads in recent years. Films like The Great Indian Kitchen challenged deep-rooted patriarchal norms through its raw portrayal of domestic expectations placed on women. The movie, starring Nimisha Sajayan, received international acclaim for its bold narrative.
Uyare, starring Parvathy Thiruvothu, brought to light the inspiring story of an acid attack survivor who fought against all odds to reclaim her dreams. Similarly, 22 Female Kottayam became a landmark film, showcasing a woman’s journey of revenge against those who wronged her. Additionally, the recent releases like Ullozhuku and Attam, which even bagged the national award continue this trend by bringing out complex female characters and their emotional journeys. These films are not just critically successful but also commercially viable, proving that audiences in Kerala and across the globe, thanks to OTT platforms, are open to powerful, female-driven narratives.
Beyond Hollywood and Bollywood, several international films have demonstrated the power of female leads. In China, Hi, Mom, directed by and starring Jia Ling, became one of the highest-grossing films of all time, earning over $850 million. The film, which blends comedy with deep emotional storytelling, resonated with audiences worldwide.
In South Korea, Kim Ji-young, Born 1982 became a landmark feminist film, sparking discussions about gender inequality in Korean society. Starring Jung Yu-mi, the movie adapted a bestselling novel and became a major box office success, earning over $36 million.
French cinema has also seen powerful female-led films gaining international acclaim, such as Portrait of a Lady on Fire, directed by Céline Sciamma. Though not a blockbuster in terms of earnings, its impact on global audiences and critics was immense, proving that female-centric storytelling can be deeply influential.
But why are female-led films thriving all of a sudden?
Audience Demand: Viewers today want diverse and inclusive storytelling. Female audiences, long underserved in blockbuster cinema, are now a driving force at the box office.
Streaming Boom: Platforms like Netflix, Prime Video, and Disney+ have provided opportunities for unconventional female-led stories that might not have been greenlit in traditional cinema.
Industry Support: More women are taking leadership roles in filmmaking. Directors like Greta Gerwig, Chloé Zhao, Payal Kapadia and Patty Jenkins among many others are reshaping the industry with their unique and fresh perspectives.
Cultural Conversations: The #MeToo movement increased awareness of gender representation in media and pushed the industry to embrace strong female narratives.
The future is female : Celebrating women on screen
The success of these films is not just a trend—it’s a shift in the industry. Projects like Deadpool & Wolverine, Moana 2, Jee Le Zaraa and many more show that female-driven stories are here to stay.
From Hollywood to Bollywood and beyond, female-led blockbusters are proving their staying power. They are not just breaking box office records; they are breaking barriers and redefining what a blockbuster can be. As more studios invest in these narratives, audiences can look forward to a future where women continue to dominate the big screen—not just as characters, but as storytellers shaping cinema’s next era.
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
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The Ancient India: Living traditions exhibition at the British Museum
The British Museum’s Ancient India: Living Traditions is among the most significant displays for Hindus, Jains, and Buddhists living in the UK.
Eastern Eye was given a tour of the exhibition by its curator, Dr Sushma Jansari, the Tabor Foundation curator of South Asia at the British Museum, and Kajal Meghani, the project curator, who has completed a PhD on the contributions of South Asian collectors to the museum.
A seated Jain enlightened teacherAshmolean Museum, University of Oxford
Highlights in the exhibition include: Ardhanarishvara, “lord who is half woman” – Shiva and Parvati combined in one deity – dated about 1790–1810; the Bimaran casket, about 1st century; Gaja-Lakshmi (“Elephant Lakshmi”), goddess of good fortune, about 1780; Ganesha made in Java from volcanic stone, about AD 1000–1200; the head of a grimacing yaksha, about second or third century; Naga, about 17th century; a sandstone figure of Ganesha from Uttar Pradesh, about AD 750; a seated Jain enlightened teacher in meditation, about AD 1150–1200; and a silk watercolour painting of the Buddha from China, about AD 701–750.
Ganesha from JavaAshmolean Museum, University of Oxford
Jansari said one of the aims of the exhibition was to connect the figures with visitors, especially practitioners of Hinduism, Jainism and Buddhism in the UK.
She said: “Most of them don’t know a great deal about Indian religions, so (this is) just to say that these might be ancient images, but they are and have always been under veneration. People do venerate them. This isn’t all about just one religious tradition. It’s about three of the indigenous religions of the subcontinent. You’ve got the Buddha, Ganesh and a Jain enlightened teacher (in close proximity).
A Chinese silk painting depicting the BuddhaAshmolean Museum, University of Oxford
“It was important for me, as a member of the South Asian diaspora, that I didn’t want to split up these traditions. I wanted very much to look at our collections and ask, what are the commonalities between Jainism, Hinduism and Buddhism.
“What are their artistic origins? Just as we live alongside each other, it was the same in the ancient past. It was even more fluid because you didn’t subscribe to just one particular religion. You would venerate at different shrines. You’d subscribe to different aspects of these different religions.”
ArdhanarishvaraAshmolean Museum, University of Oxford
She stopped at one point: “We wanted you to feel the atmosphere of ancient India. We’re in early India, maybe about the second century BCE. Most of the population live in the countryside. There are obviously some amazing cities as well, but we’re looking at the countryside.
Head of a grimacing yakshaAshmolean Museum, University of Oxford
You’re living in an agrarian society. The failure of your crops means famine, and the success of your crops means you are likely to survive another year with your family, and you will prosper. And we’re just trying to evoke that.”
In Indian mythology, a yaksha is a class of supernatural beings, often nature spirits or deities, that can be benevolent, mischievous, or even malevolent. They are frequently associated with water, fertility, trees, the forest, treasure, and wilderness. Yakshas are often depicted as guardians of places or treasures and can be found in Hindu, Jain, and Buddhist texts, as well as in temples throughout South and Southeast Asia.
“You can hear the sounds of nature,” continued Jansari. “Maybe you’re walking through a dappled forest, and then you encounter the yakshas, the yakshis and the (snake gods) nagas and the naginis. And these are some of the earliest images of deities in the subcontinent, shaped in human form, which is incredibly important, but it doesn’t mean that they’re consigned to the past. This is not ancient and long gone, like an exhibition of beautiful Greek or Roman art, but those deities are no longer under active worship. These have a long continuous life.”
NagaAshmolean Museum, University of Oxford
The yakshas and the yakshis were “not all lovely, happy figures,” said Jansari. “Actually, they need to be placated. You’ve got these grimacing yakshas here, and they’re clutching sacrificial animals.”
She pointed out a figure of “a voluptuous woman draped in jewellery. There’s lots of floral imagery. You are thinking about fecundity and plenty. But then you look a bit more closely at her hair, there are weapons emanating out. These are powerful, independent goddesses with a martial quality.”
The Bimaran casketAshmolean Museum, University of Oxford
Jansari spoke about snakes and why in many societies in India, particularly in rural parts, they tend not to be killed.
She explained: “The nagas and the naginis were independent, really powerful gods. And in a society where the monsoon is incredibly important for the success or failure of your crops, the snakes are vital. You’ve got lovely plenty of water, which means your crops are growing, which means there are more rodents and frogs. So having lots of snakes around is a really healthy sign. They were venerated. They were not killed. It was considered very bad karma to kill a snake. And even now, you still don’t kill snakes. Within nature spirits, it’s not only yakshas and yakshis and nagas and naginis it’s also animal-headed deities.” She talked about the genesis of the exhibition: “I really wanted to show the connections between this ancient religious art and nature, but also the religions themselves. There are so many similarities. There are also key differences. I wanted to make sure that this exhibition is not seen as ancient objects from abroad which have no meaning or purpose here in the UK. They absolutely do for large portions of our society. This is very much part of British culture. That’s how Belgrave Road (in Leicester) happens.”
Meghani looked at “how these faiths and the practices travelled, not just from India to the UK, but there is this weaving through East Africa and other places, and how these traditions change and are adapted to these spaces, how it allows people to maintain a sense of connection with their families and also their faith.”
The curators had consulted places of worship in the UK. They included the Buddhapadipa temple in Wimbledon, the BAPS Shri Swaminarayan Mandir in Neasden in north London, as well as the Oshwal Association of the UK in Potter’s Bar in Hertfordshire.
Meghani said: “This is one of the films we created with a community partner in Potter’s bar. Manjula Shah, who volunteers at Potter’s Bar, wakes up at the crack of dawn to get to the temple for 7 am. She’s preparing sandalwood paste, and she’ll use that in the ceremony.
“And we wanted to include sites in the UK to show how South Asians are still carrying on their veneration practices within Britain today.
” In Ancient India: Living traditions is at the British Museum until October 19, 2025.
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Sons of the late, legendary Ustad Bahauddin Khan Qawwal
At a time when the spiritual essence of Sufi music is often diluted by commercial reinvention, Najmuddin Saifuddin & Brothers Qawwali Group stand tall as torchbearers of an unbroken tradition stretching back more than 700 years.
Sons of the late, legendary Ustad Bahauddin Khan Qawwal, the five brothers continue a sacred musical lineage dating back to the 13th century and the disciples of the genre’s founding figure, Hazrat Amir Khusro.
As they bring their stirring performances to audiences across the UK, the group shares stories from their journey, memories of landmark concerts, and the profound responsibility of carrying forward a legacy rooted in devotion, discipline and divine inspiration. The brilliant brothers – Muhammad Najmuddin, Saifuddin Mehmood, Zafeeruddin Ahmed, Mughisuddin Hasan and Ehtishamuddin Husain – also reflect on their inspirations and the best advice given to them by their legendary father.
How do you reflect on your journey as a group?
We have been on a meaningful journey since childhood, dedicated to presenting traditional qawwali to the world. But this journey began long before us – our family’s connection to qawwali dates back to Hazrat Amir Khusro’s time in the 13th century. Our ancestor was part of the very first qawwali group. So, this is a spiritual journey that has continued across generations, and it lives on through our current UK tour.
What has been your most memorable moment?
We have many wonderful memories – one was performing at Millennium Park in 2013, during the Chicago World Music Festival, where nearly 12,000 people sang along with us. In 2012, on the USA Worldfest tour, we had 1,500 school students singing qawwalis with us. On that same tour, we also performed at the triennial Jewish-Christian-Muslim interfaith dialogue.
Which other moments stand out?
In 2011, we performed at the inauguration of the Islamic Block of Metropolitan Museum in the US. A special highlight was collaborating with the Moroccan group Hassan Hakmoun Ensemble to present a kalam that merged qawwali with Gnawa – a form of African devotional music. In 2002, during a tour of Iran, we performed to an audience of 8,000, who all sang Persian kalaams with us. Honestly, every time we step on stage, it feels special.
How important is live performance to you personally?
We absolutely love performing live. The audience response energises us and adds momentum to our performance. That shared connection is what motivates us to give every show our all and create something unforgettable.
How much do you enjoy touring the UK and performing here?
We always enjoy performing in the UK. After Pakistan and India, the UK has the greatest appreciation for traditional qawwali and music with classical roots. Audiences here are excellent listeners who understand and value authentic qawwali. We hope to see everyone during our current tour, which is being organised by Jay Visvadeva of Sama Arts Network.
What can audiences expect from your shows?
As always, we will give our best kalaams and strive for perfection so UK audiences can experience traditional qawwali in its purest, most powerful form – deeply rooted in ancient tradition.
How do you generate so much power on stage?
Our uniqueness lies in our collective strength – we have always performed as a group rather than relying on a frontman. While many groups have just one or two lead singers, we have five. Audiences appreciate that and are often amazed that each member plays an essential role in the performance. That is why our shows are so dynamic and full of energy.
Them performing liveNajmuddin Saifuddin Qawwal Group
Tell us about the documentary you have made.
The documentary, produced by Kamran Anwar and Professor Katherine Schofield, traces the emergence, history and evolution of qawwali. It goes right back to the disciples of Hazrat Amir Khusro, who is recognised as the first qawwal in history. We are proud to say our ancestor was part of that original group.
How important is it to carry forward a legacy that stretches back centuries?
We are descendants of the leader of the first Qawwal Bachchay group. Ours is a continuous legacy spanning 25 generations, and we will continue to carry it forward. It is both our honour and our responsibility to preserve and pass on this tradition.
What do you most admire about your father, Ustad Bahauddin Khan Qawwal?
He was a true legend of the Khusro tradition. He believed in achieving perfection in every aspect of his work, art, and performance. He taught us every element of this tradition and was generous in sharing his knowledge, not just with us but with anyone who came to him. That is why his legacy extends far beyond the family.
What was the greatest lesson he taught you in your journey?
He always said, “Remain a disciple – never believe you are a teacher.” Being a disciple means you stay open to learning, remain inspired, and keep striving for perfection. The moment you think of yourself as a master, you stop growing, and others start questioning you.
What inspires you as a group?
We are inspired by simplicity, purity and excellence in performance. Our father never stopped striving for more, even though he was revered worldwide. He remained rooted in the Khusro tradition, and that focus continues to guide us. Our audiences also inspire us – whether we are performing for a few or for thousands, the energy they give back fuels us.
Why do you think Sufi music remains timeless and beloved?
Because it originates from the soul and speaks to the spirit. It brings calm, stillness and a sense of divine connection. Sufi music carries a universal message of love, humanity, equality, humility, peace and unity – all beautifully expressed through hypnotic rhythms and heartfelt vocals.
Why should people come to your upcoming UK shows?
Because the kind of qawwali we present is rare. It is not the inauthentic, Bollywood-style version that dilutes the genre. What we offer is real qawwali – in its purest form – and something you will not hear from any other group.
Najmuddin Saifuddin Qawwal Group are touring the UK until late July. Visit sama. co.uk for dates and ticket information.
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The image shows a stencilled lighthouse on a plain beige wall
A new artwork by Banksy has been unveiled on the artist’s official Instagram account, but the exact location of the piece remains undisclosed.
The image shows a stencilled lighthouse on a plain beige wall, accompanied by the phrase: “I want to be what you saw in me.” The piece features a cleverly drawn false shadow from a nearby bollard, creating the visual effect that the lighthouse is formed by the silhouette of the street furniture.
Despite the post, Banksy has not provided any indication of where the artwork is located. A second photograph shared on Instagram shows two people walking dogs near the piece, though it does not offer significant clues about the setting.
Speculation online has suggested that the street could be somewhere in Marseille, France, but this has not been confirmed. Another version of the image circulating online shows a blurred figure on a scooter passing the wall, which also features a tag that reads "Yaze". The same name is used by Canadian graffiti artist Marco The Polo, who has referred to Banksy as a source of inspiration.
Banksy, who has maintained anonymity throughout his career, typically confirms the authenticity of his work via his verified Instagram account. Many of his previous artworks have tackled political and social themes, including immigration, conflict, and homelessness.
In December 2024, Banksy posted another piece showing a Madonna and child, incorporating a wall fixture that resembled a bullet wound in the figure’s chest. Last summer, he also released a series featuring animals across different locations in London, though their meaning was not explicitly stated.
The new lighthouse piece has sparked widespread interest, but until its physical location is confirmed, it remains one of Banksy’s more mysterious contributions.
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Sundaram Tagore with Sebastião Salgado in Venice (2015)
When film director Danny Boyle saw Sebastião Salgado’s photograph of Churchgate Station in Bombay (now Mumbai), he knew this was where he would end Slumdog Millionaire with the rousing Jai Ho dance sequence, writes Amit Roy.
This was revealed to Eastern Eye by Sundaram Tagore, who owns art galleries in New York and Singapore and is about to open one in London (he is moving from the previous smaller venue in Cromwell Place).
Tagore, who has flown in from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23), last week participated in a photography exhibition called Photo London at Somerset House.
Now in its 10th year, “the UK’s leading photography fair” said that Photo London 2025 was “dedicated to the past, present, and future of photography”.
Salgado’s iconic 1995 photograph of Churchgate Station in Bombaygetty images
Tagore had a booth where he showcased work by several celebrated photographers, including three – Salgado, Steve McCurry and Karen Knorr – all of whom have drawn inspiration from India.
The work of the Brazilian-born Salgado has been described by Andrei Netto of The Guardian as an “instantly recognisable combination of black-and-white composition and dramatic lighting”.
“He’s a world-renowned photographer who has a deep relationship with India,” said Tagore, standing in front of Salgado’s famous photograph of Churchgate railway station in Mumbai (previously Bombay).
The photograph was taken by Salgado in 1995 (when Bombay was renamed Mumbai) as part of a decade-long series on the subject of “migration”, said Tagore, who explained the circumstances in which the picture was taken.
“When he got to the station, he knew he wanted a vantage point higher up,” said Tagore. “Then he was told he’d need to go to an office to get clearance (because everything in India is bureaucratic). He was looking around, thinking ‘Where can I take a photograph of Churchgate?’ Just then he saw this scene and, without waiting for official clearance, just snapped the picture. And in the migration context, if you look carefully at the picture, only two people are static. There is this man who appears to be looking across the crowd to a woman sitting down.”
MF Husain in his Bombay studio (1993); Karen Knorr with her works shown at Photo Londongetty images
Tagore said Boyle happened to come across the picture when he was shooting Slumdog Millionaire in 2007, with Dev Patel and Freida Pinto in the lead roles. Boyle is reported to have said, “This is where I will end the film.”
Tagore added, “This is where the Jai Ho dance scene takes place. That was the inspiration. It was all a bit accidental.”
In his booth, Tagore had also included photographs by McCurry, who is just as famous for his images captured in India.
He caught a boy running down a lane in Jodhpur in 2007. On a taxi journey between Jodhpur and Jaisalmer in 1983, he captured a group of women caught in a sudden sandstorm. He photographed the painter MF Husain in his Bombay studio in 1993. And, in China, in 2004 he took a photograph of Shaolin monks in training in the city of Zhengzhou.
The Opium Smoker, Chitrasala, Bundi (2017) by Knorr and Steve McCurry’s photograph of women caught in a sand storm in Rajasthan in 1983getty images
Present alongside Tagore was photographer Karen Knorr, who talked to Eastern Eye about her striking images – she takes pictures of lions, tigers, peacocks, horses, deer, elephants, cheetahs and swans, for example, and inserts them into photographs taken separately of ornate rooms in palaces and forts in Rajasthan.
She is a German-born American photographer, “the product of a photojournalist mum and a father, who was an editor of a Stars and Stripes American paper in Frankfurt am Main, where I was born”.
She grew up in Puerto Rico and now lives in London.
Her website says that her “photography explores cultural heritage and its ideological underpinnings. Questions concerning post-colonialism and its relationship to aesthetics have permeated her photographic work since the 1980s. Her acclaimed work, India Song, researched the stories and myths of India, photographing animals and placing them in temples and palaces across heritage sites in India. In 2024 Sundaram Tagore Gallery held a solo exhibition of her work, Karen Knorr: Intersections.”
Works shown at Photo London included The Opium Smoker, Chitrasala, taken in Bundi in 2017.
Standing in front of two of her photographs – one called The Transgressor, taken at Takhat Vilas in Jodhpur in 2022, and another titled A Moment of Solitude at Amer Fort in 2021 – she spoke about how India had changed her life.
A British photographer called Anna Fox introduced Knorr to Abhishek Poddar, head of the Museum of Art in Bangalore (now Bengaluru).
She remembered: “He picked up the phone and said, ‘Why don’t you come to India?’ And I said, ‘Why not?’”
getty images
There have been numerous trips to India since her first visit – a “very long road trip across Rajasthan”.
“I immersed myself in India. I would revisit places I had visited before. I am very interested in how time changes a building. I just sort of fell in love with the country. Its hybridity is what really interested me, this idea that architecture could be there for diversity, reconciliation, different cultures coming together. I read most of William Dalrymple’s books and his very critical and alternative history of India that didn’t glorify the British empire. Some of the spaces are older than British rule. What interested me were the Muslim inflections in the buildings. I read the Mahabharat and the Ramayan, everything from (American Indologist) Wendy Doniger to Dalrymple.”
As for the animals inserted into her pictures, she said: “I found the animals were as important as the cultural heritage. I use them as transgressors and disrupters. They are not supposed to be there. I didn’t photograph the animals in situ. That would never work. The animals would move. So, I became a wildlife photographer. Often, I wouldn’t know which animal goes where. I would work on that in London. The animal chosen has to work within the space. It’s about designing an effective image.”