REPRESENTATION OF TOXIC CHARACTERIZATION AND GENDER DYNAMICS IN SOUTH INDIAN CINEMA
Abstract
The representation of intimate relationships in contemporary South Indian cinema has undergone a remarkable transformation, shifting from idealized notions of romance to psychologically complex narratives that foreground emotional vulnerability, possessiveness, manipulation and power imbalance. While romantic relationships have traditionally been portrayed through culturally accepted patriarchal frameworks, recent films increasingly explore the darker dimensions of love, exposing behaviours associated with toxic masculinity, emotional abuse, coercive control and gender inequality. This study comparatively examines the representation of toxic characterization and gender dynamics in the Tamil film Lover (2024) and the Telugu film Girlfriend (2025). Drawing upon Feminist Film Theory, Gender Performativity Theory, Male Gaze Theory and Hegemonic Masculinity Theory, the research investigates how cinematic narratives construct gender identities, negotiate emotional power and normalize or challenge toxic behavioural patterns within romantic relationships.
The study adopts a qualitative research design using Multimodal Discourse Analysis and Narrative Discourse Analysis to examine dialogues, characterization, mise-en-scène. Comparative textual analysis reveals that both films depict toxic behavioural traits through emotional dependency, possessiveness, surveillance, jealousy, manipulation, and psychological abuse; however, they differ in the ways female agency is represented. The Tamil narrative critiques patriarchal possessiveness through psychological realism, whereas the Telugu narrative negotiates toxicity within broader cultural expectations of romance and gender performance. The study argues that contemporary South Indian cinema is gradually shifting from romanticizing toxic relationships toward encouraging critical reflection on gender equality, emotional accountability and healthy interpersonal communication. By comparing two linguistically and culturally distinct industries, this research contributes to feminist film studies, gender communication and South Indian cinema scholarship while expanding academic discourse on toxic characterization in contemporary visual culture.
