Abstract
Cinematic works around indigenous lives in India have long been marginalized within the scope of “film as an entertaining art form.” Striking a balance between a faithful rendition of an indigenous community and the infusion of entertainment seemed impossible within the Indian film industry until Kantara struck the silver screen. Since its release, the film has been subjected to constructive and positive criticism, but the representation of women in the film has either remained unattended to or viewed negatively. This research paper intends to approach the use of indigenous media and epistemology in the film as a symptomatic representation of fourth cinema and then to address the representation of women from the perspective of faithful representation and indigeneity.
