Sairat (The Wild, 2016 ), and Fandry (Pig, 2014), by Nagraj Manjule have been widely celebrated for portraying narratives of caste marginalisation in rural Maharashtra. This paper argues that marginal narratives and subjectivities in Fandry and Sairat posit moments of resistance, that bring into question mainstream cinema, its tropes of romance, and the region in transition. Apart from presenting a reading of the subjective experience of being socially marginal, the paper deliberates on how the films emblematise a certain social entanglement, and are instrumental in affirming their own objectified versions.
