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Delhi deluge of colour and movement in Mira Nair's Monsoon Wedding |
 | | Where some critics decried the film's exploitation of its female subjects and implicit voyeurism, others contended the film was “the first direct articulation in a documentary film of the contradictions inherent in the attitudes toward women in India”. |
| | (4) Her follow up documentary, Children of Desired Sex (1987), examined an equally provocative topic—the increasing levels of female foeticide in India as a result of the inappropriate application of sex-determination tests. |
| | When Nair eventually tired of the documentary form, she moved on to feature films where she could make things “happen in a controlled way, in a way I wanted—the light, the gesture, the story” (5). |
| www.sensesofcinema.com /contents/01/18/monsoon_wedding.html (2289 words) |
