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The Reception Context

While the reception of cinema is not an easy experience to study, each of the five partners conducted focused group discussions in their own countries. Two focus group discussions were held in each of the five countries involved in the project. Methodologically, this required getting a group of 8 to 10 people together with the research team for a detailed workshop-oriented discussion about their responses to the use of European locations.

In India, the first workshop/discussion was scheduled with young audience members located in Delhi. This was conducted in English, given the audience profile. The second focus group discussion was conducted with participants from Punjab, and the language of the workshop was Hindi. Between these two workshops, different kinds of perceptions emerged related to taste, morality, aspiration, and the desire for virtual tourism. Our findings have been documented in two reports available here. There is also a document that provides information on the way film critics and other journalists write about the use of European sites in Indian cinema. Since reviewers play a major role in mediating between films and their audiences, the evidence gathered from the writings that specifically dealt with the use of Europe is analyzed in a detailed report on the media’s engagement with the subject of foreign locations, which is available here.

The Promotion of Tourism Through Film

The India International Film Tourism Conclave is held in Bombay every year. At the conclave in March 2020 people representing European commissions, private production companies, and service providers from across the world were present. The conclave showcases exhibits and regular pitching sessions are conducted with Indian producers. Each of these exhibits displayed catalogues, lush photographs, videos containing sequences shot in their countries, and tourist videos. The catalogues offer details of rebates and tax exemptions, as well as information about trade agreements. The IIFTC was set up to ease the procedural requirements for Indian filmmaking in European locations. Now various events are held in Europe and India to showcase facilities. These events have also instituted awards for the promotion of tourism. Directors Zoya Akhtar and Imtiaz Ali were felicitated for their roles in promoting tourism through their films.

Certain places in Europe have rebates, and some do not. If the territory is not specific to the film’s script but just needed to present the idea of being overseas, then Eastern Europe is the cheapest destination. With an increase in scale and the use of big stars, there can be an inevitable shift towards Western Europe rather than Georgia or Romania. Tourism Boards and Film Commissions play an important role in these transactions. Cinematic tourism, as it became increasingly clear, was important to boost actual tourism. Therefore, the pleasures associated with global tourism is systematically incorporated into different kinds of films.

Salman Khan’s Kick (2014) was released in many cities in Poland and did well at the box office. Polish officials wanted Bollywood to shoot in Poland, and one of the incentives offered was the presence of skilled and trained film personnel who had also acquired international experience through co-productions with Hollywood. For Poland, the main issue was boosting their tourism by introducing their country to potential tourists from India. The success of Zindagi Na Milegi Dobara (2011) was something that other countries wanted to replicate. The Polish Tourism Organization started the “I like Poland” campaign in 2012 to tap into international tourism markets. India, with its burgeoning middle classes and disposable incomes, became a major site of investment, and the government of Poland offered financial incentives to Salman’s Kick to begin the process of using film to attract tourists to their country.

Tourism to the Netherlands and Spain increased substantially with Queen and Zindagi. For Fan, Shah Rukh Khan recorded part of his film in Dubrovnik as well as other parts of Croatia. Due to the dramatic nature of the action sequence shot in Dubrovnik, film fans became interested in visiting the city. Local tourist guides have talked about the demand for tours that would replicate Shahrukh Khan’s movement in Fan.

Creative Choices

Cinematographers, sound recordists, and scriptwriters have their own approach to the use of European locations. For instance, cinematographers are particularly concerned about scenic views as well as the extended daylight hours that give them a chance to shoot for longer. Similarly, sound recordists are also known to record the sounds of European cities along with local musical forms to create musical tracks where the influence of the location is blended with Indian musical forms. Scriptwriters’ work through situations in which characters get to be placed in European locations.

Some view the basis of any film as the script, for example, for Queen (2013), the script was based in Europe as it is about a young woman in Delhi who travels overseas after being rejected by her fiancé. Paris was written into the script and was part of the original selection. Amsterdam was considered an open city –like any European city. A team, however, first scouted Prague with the local line producers to test the city’s visual vibe. The budgets were then taken from both Prague and Amsterdam – these budgets were compared, and then the decision was taken to go with Amsterdam. Chaitali Parmar, the writer of Queen, explained why a combination of Paris and Amsterdam was essential for the film and why they went with non-iconic locations in Amsterdam while sticking with the iconic Eiffel Tower for the sections shot in Paris.

Roshni Dinaker, director of the Malayalam film, My Story (2018) shot in Portugal, said the decision to shoot in Portugal was based on her story’s needs for a fairy-tale setting. Lisbon gave her a combination of readily available beaches and castles. Satish Chinnan (Mani Rathnam’s producer) in Chennai said Mani Rathnam’s film Chekka Chivantha Vaanam (Crimson Red Sky, 2018) was shot in Georgia and Serbia with the help of Clockwork film productions. Apart from a detailed account of budgeting, shooting and processes involved in foreign location, shooting the film in Georgia helped to get access to the military base and hangar, both of which were off-limits in India. Another interesting detail that he alerted us to was that Georgia now stands in for Kashmir in many Indian films.

Shaad Ali, the director of Jhoom Barabar Jhoom (2007), recalled how the film started off as a very small production set in a railway station in Delhi. The original title was Sangam Mail as the protagonists in the film were supposed to be waiting for the arrival of a train called Sangam Mail, moving between Allahabad and Delhi. This was the first version he wrote. Ali felt he wanted to move away from the small-town setting of his hugely successful Bunty aur Babli (2005). He wanted to take the story to some other place, like London, so getting out of India was the first step. But once the script moved to the U.K., it became possible to include a Pakistani character as well. The space provided the context for a change in the script. Since the story depended on a series of lies cooked up by the two characters, events from the world entered like the Lady Diana story—about her last night at the Ritz hotel. So, while the essence of the story was still something small that could have happened to two people anywhere in the world, the change in scale helped expand the terrain of the script. The Lady Diana story took them to Paris, while the Waterloo train station in London became the site that replaced the original vision of a railway station in Delhi.

In Bengali cinema, foreign locations have been used mainly for one-off song sequences. In Dui Prithibi (2010), a small portion was shot in Italy, and it was probably the first film of significance shot in Europe. One of the major productions shot entirely abroad, in Italy, was Parambrata Chatterjee’s sci-fi thriller Bony (released in 2021). The entire shooting in Italy was managed by Odu Films, which has become a manager for European shoots for Southern films as well. They organize all the major aspects of any shoot: equipment, extras, permissions, boarding and lodging, internal travel, location visits, etc. However, they cater to low- to middle-budget films. It is interesting to note that most Bengali films with a considerable amount of shooting abroad belong to the ‘off-beat’ middlebrow arthouse range of cinema. Significant examples are Aniruddha Roy Chowdhury’s Anuranan (2006, shot partly in the UK), and Churni Ganguly’s Nirbashito (2014, SVF Films). Popular Bangla cinema mostly shoots songs in Europe, and the preferred locales are Italy, Switzerland, and some parts of the UK. Shri Venkatesh Films (SVF) claims to have shot 20 times in Switzerland.

Women are the custodians of India's vast cultural heritage. They lead the preparation and execution of festivals like Diwali, Karwa Chauth, and Durga Puja, keeping intricate regional rituals, traditional arts, and culinary secrets alive. Fashion: A Blend of Tradition and Trend

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With expanding public roles comes the challenge of managing the "double burden"—balancing demanding careers with traditional domestic expectations.

Even with all this progress, the path towards full equity is still a work in progress. The immense gains in literacy and career are counterbalanced by some stark realities.

Spirituality and daily rituals are deeply integrated into the lifestyle, regardless of specific religious backgrounds.

However, the "Indo-Western" trend dominates daily lifestyle. A college student might pair a traditional Kurti with ripped jeans, or a corporate executive might wear a sleek blazer over a formal tunic. This blending of styles isn't just about fashion; it’s a visual representation of her dual identity: rooted in India, yet a citizen of the world. The Professional Revolution

If your only window into India is through period dramas or travel reels, you might think every Indian woman spends her day draped in silk, dancing around a bonfire, or grinding spices with a mortar and pestle.

This connectivity has also fueled a shift in social perspectives. Discussions around body positivity, financial independence, and late-age marriage are no longer taboo. The modern Indian woman is using her voice to redefine traditional "norms," choosing a life path that prioritizes her personal aspirations alongside her cultural duties. Conclusion

India has seen a massive surge in women-led startups. From rural cooperative societies (like the famous Lijjat Papad) to tech and beauty giants (like Nykaa, founded by Falguni Nayar), women are driving economic growth.

Yet, this progress coexists with persistent challenges. Despite legal protections, issues like dowry-related violence, female feticide (illegal but still practiced in some regions), and domestic abuse remain grim realities. Even educated, employed women often face the "double burden"—full-time work outside the home coupled with primary responsibility for childcare and housework, as domestic labor remains heavily feminized and undervalued. Furthermore, the public sphere can be hostile; safety concerns in crowded cities restrict women’s mobility and freedom. The national debate around these issues—from sexual violence to workplace harassment—has galvanized a powerful feminist movement, but change is slow and uneven across class and geography.

A collage of a woman in a hard hat on a construction site, a classical Bharatanatyam dancer, a CEO in a blazer, and a grandmother making pickles.

In the past, a woman’s identity was primarily tied to her role as a homemaker, mother, or daughter-in-law. Today, Indian women are navigating a dual identity. They manage domestic responsibilities while simultaneously building professional careers. This balancing act has created a lifestyle focused on efficiency, time management, and mental resilience.

The pairing of traditional tunics with denim or leggings has become the unofficial uniform of the urban working woman.

The saree remains an enduring symbol of grace and cultural identity. From the vibrant Kanjeevarams of the South to the delicate Chanderis of Central India, sarees represent regional heritage. The Salwar Kameez and Kurtis are also daily staples across the country, prized for their comfort.

The lifestyle and culture of Indian women represent a dynamic fusion of ancient heritage and rapid modern evolution. Today, Indian women navigate a complex landscape where deep-rooted traditions seamlessly coexist with globalized, progressive ambitions. From family structures and spiritual practices to career advancements and culinary arts, their daily lives reflect a unique blend of resilience, adaptability, and cultural pride. Family and Social Structure

The lifestyle and culture of Indian women represent a dynamic fusion of ancient traditions and modern independence. Today, Indian women navigate a complex social landscape, balancing deep-rooted cultural expectations with rapidly expanding opportunities in education, career, and personal autonomy.

: Financial independence allows modern women to make autonomous choices regarding marriage, property, and lifestyle.

A conversation with Executive / Line Producer Tanvi Gandhi

A conversation with Line Producer Rengarajan Jaiprakash

A conversation with ‘Travel Guru’ Ramji Natarajan

2018

Indian Big Ass Aunty Tamil Verified -

Indian Big Ass Aunty Tamil Verified -

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