Mainstream Indian cinema has rarely depicted the complexities of caste and its associated social problems. With Fandry (2014) and Sairat (2016), Nagraj Manjule brought caste and gender to the centre stage of fi lm-making. However, his recent Hindi fi lm Jhund fails to carry forward this legacy and adopts a time-tested Bollywood style—an upper-caste-male-saviour trope.
