India watched Game of Thrones and HOTD. Is it ready for incest on big screen?
Shows like Game of Thrones and House of the Dragon have made incest a recurring storytelling device that audiences have accepted as fiction. But could a similar narrative ever find a place in Indian theatres? Filmmakers explain why the answer is far more complicated.
When House of the Dragon Season 3 showed Prince Regent Aemond Targaryen kissing his mother, Dowager Queen Alicent Hightower, the internet erupted. Even for a franchise that has made incest one of its defining themes, the moment left many viewers stunned and reignited a familiar debate: how far is too far in storytelling?
Yet, despite the shock, most fans understood the scene within the context of George RR Martin's fictional world, where the Targaryens have long practised incest to preserve their bloodline. It's disturbing, controversial and morally uncomfortable, but it is also a recurring narrative device that audiences have, over the years, come to associate with the world of Game of Thrones and House of the Dragon.
Now imagine the same storyline unfolding in a mainstream Indian film. Not hinted at. Not metaphorical. An explicit central plot involving incest between close family members. Would Indian audiences embrace it as fiction, or would the film be rejected left, right and centre?
That question feels more relevant than ever as global audiences continue to consume stories that challenge social taboos while Indian mainstream cinema largely stays away from one of society's biggest taboos. Is India ready to watch incest on the big screen, or are there some boundaries that even fiction cannot cross?
The answer isn't as straightforward. Indian cinema has largely steered clear of incest as a central theme, treating it as one of the last remaining taboos on screen. While filmmakers have occasionally brushed against the subject with extreme caution, they have rarely explored it head-on. Even on OTT, where storytelling has become far more daring, examples are few. Ba***ds of Bollywood, the popular Netflix series created by Aryan Khan, son of Bollywood superstar Shah Rukh Khan, briefly brushes against the theme, albeit in a satirical and largely unintended manner. Television, too, explored a similar conversation years ago with Laut Aao Trisha. Then there was Haider (2014), where director Vishal Bhardwaj subtly invoked undertones of the Oedipus complex through the relationship between Haider (Shahid Kapoor) and his mother Ghazala (Tabu). The psychological concept describes a son harbouring unconscious romantic feelings for his mother while viewing his father as a rival.
Yet, unlike the West, where such narratives are often woven into mainstream fiction, India continues to keep the subject firmly at arm's length. That's where the conversation becomes far more complicated.
Unlike OTT, if films dealing with such sensitive themes release on the big screen? Will it ever have takers in the audience?
Biggest taboo
While we contemplated the answer, filmmaker Tejas Deoskar shared his perspective. The director, who has helmed projects like Ground Zero, Chhatriwali and more, told IndiaToday.in exclusively why incest remains one of the biggest taboos in Indian cinema.
Deoskar said the issue goes beyond censorship and is deeply rooted in the country's social and cultural fabric. While he believes storytelling in India is gradually becoming bolder, certain themes are unlikely to find acceptance in theatres because both audiences and producers remain cautious.
"Our social fabric is very different. We have a certificate board that decides what kind of content is suitable for theatrical exhibition because cinema halls are public spaces. I think that has a lot to do with our culture. Even then, we've seen violence and explicit content gradually making its way into theatres. These changes happen slowly,” he said.
Having said that, showing sensitive content comes with significant financial risks, something not every producer is willing to take. Explaining why filmmakers often remain cautious of such subjects as incest for theatrical releases, Tejas said the biggest challenge is the uncertainty around audience acceptance.
"For a producer, it's also about the risk. When someone invests money in a film, they need some assurance that audiences will accept it. If there's no guarantee, why would they take that risk? That's why change will happen gradually, although it is already happening to some extent. We've seen films like Obsession find an audience in India,” he added.
So why does incest continue to remain a taboo in Indian theatres? After all, shows like Game of Thrones and House of the Dragon have found massive audiences in India despite featuring such themes. Why, then, does the same subject seem far less acceptable when it comes to Indian cinema? Why such hypocrisy, if one may ask? According to Tejas, the answer lies in the cultural differences between India and the West.
“When we watch Game of Thrones, somewhere in the back of our minds we think, 'This doesn't happen here; it happens elsewhere.' That difference is embedded in our cultural DNA. Just because something exists in society doesn't mean everything has to be shown on screen. There is also something called dignity, and I think our culture values that,” the director added.
The hesitation isn't merely about culture. A theatrical release is marketed to families, reaches audiences across generations and often attracts greater political and public attention than an OTT title watched privately at home. For producers investing hundreds of crores, the fear of protests, boycott campaigns, legal challenges or delayed releases can become a bigger deterrent than the creative challenge itself.
However, how many producers or filmmakers would still dare to come up with a script that mirrors the societal problem?
Moral policing and fear of public backlash
National Award-winning filmmaker Sudipto Sen believes incest remains one of the few subjects Indian cinema is simply not ready to explore. According to the The Kerala Story director, the hesitation goes far beyond the censor board. While speaking to India Today, he argued that societal acceptance, moral policing and the fear of public backlash discourage filmmakers from even attempting such stories, making it nearly impossible for a producer or actor to back a film centred on incest.
"Our society is definitely not prepared for such topics. That's precisely why films in India go through multiple layers of scrutiny. There is the official censorship process, but beyond that, there is also moral policing, which often determines whether a film will be accepted by audiences or not,” he said.
Sen cited the example of the Bollywood film Lamhe (1991) starring Anil Kapoor, Sridevi and Anupam Kher, where he believed the makers had to face scrutiny back then for touching on the topic indirectly. However, he mentioned how social media footprints weren’t strong then. Otherwise, the film would have received immense backlash from the people.
"Lamhe wasn't even directly about incest, but it explored a young woman falling in love with a man who had loved her mother. Even that sparked a huge controversy. Back then, social media wasn't as active as it is today. Otherwise, people might have even resorted to stone-pelting outside Anil Kapoor's house. That's the kind of outrage such subjects can trigger,” he added.
It is not always censorship that acts as the main hurdle. Sen believes the biggest challenge is convincing producers and actors to back a subject that continues to be viewed as socially unacceptable.
While filmmakers remain divided on whether Indian theatres are ready for such themes, some viewers believe audiences have become more open to uncomfortable narratives, thanks to years of consuming global content on OTT platforms. Some fans feel that years of watching international fantasy dramas have helped them separate fiction from reality.
Priya, a 26-year-old software engineer and an avid fan of GoT and House of the Dragon, told us how OTT has increased the horizon of her thinking. The digital platforms have exposed Indian audiences to global storytelling, which is why such shows never really come across as cultural shock now.
“As someone who enjoys fantasy novels and shows, themes like incest in fiction aren’t new to me. At first, watching Game of Thrones and House of the Dragon was uncomfortable, but I eventually saw it as a fictional storytelling choice rather than an endorsement. That’s why I wasn’t shocked when Ba***ds of Bollywood explored a similar idea,” she said. Continuing, “I think OTT has exposed Indian audiences to more global storytelling, making them more accepting of such creative choices.”
Perhaps the real question is not whether Indian audiences are ready, but whether the ecosystem around theatrical filmmaking is. As streaming continues to expand the boundaries of storytelling, cinema appears to be playing by a different set of rules. Whether that gap narrows in the coming years, will only depend on the reception by the audience.
At the end of the day, filmmaking is also a business. In that case, how many filmmakers would actually risk making a film on a subject they know could alienate audiences? Writer Sumit Arora believes the hesitation has less to do with censorship and more with the fact that incest remains a deeply rooted social taboo. According to him, while filmmakers may occasionally explore such uncomfortable themes, they are unlikely to become part of mainstream storytelling because audiences continue to view them as controversial and unacceptable.
Need mature handling
While talking to IndiaToday.in, the writer who has written films like 83, Jawan and Stree among others, revealed that he has never been approached by any filmmaker with such a demand before. He emphasised that such topics demand immense maturity and sensitivity from the filmmaker to be depicted on the big screen.
Before citing Game of Thrones, Arora pointed out that the very reason incest generates shock is that it is not perceived as normal, even by audiences who consume global content.
“When you watch it, your first reaction is often, 'What the hell?' It's not something you think of as normal or commonplace. Precisely because it isn't socially acceptable, it is explored as an exceptional narrative device rather than something that can become an everyday storytelling theme,” Sumit said.
So will such stories ever have a chance to be explored on the big screen?
“I don't think so. Many filmmakers don't take up such themes because everyone wants to connect with the widest possible audience. Subjects like these automatically become niche, and that's why they are rarely explored in mainstream cinema,” he added.
This makes us go back to our main question: Is India ready to watch incest on the big screen? Perhaps the answer isn't a straightforward yes or no.
For now, it appears that the biggest hurdle isn't just audience acceptance; it's the ecosystem surrounding Indian cinema. Until filmmakers, producers and exhibitors are convinced that such a story can be told without inviting overwhelming controversy or financial risk, incest is likely to remain a theme explored on streaming platforms and in international productions, rather than on Indian screens.
When House of the Dragon Season 3 showed Prince Regent Aemond Targaryen kissing his mother, Dowager Queen Alicent Hightower, the internet erupted. Even for a franchise that has made incest one of its defining themes, the moment left many viewers stunned and reignited a familiar debate: how far is too far in storytelling?
Yet, despite the shock, most fans understood the scene within the context of George RR Martin's fictional world, where the Targaryens have long practised incest to preserve their bloodline. It's disturbing, controversial and morally uncomfortable, but it is also a recurring narrative device that audiences have, over the years, come to associate with the world of Game of Thrones and House of the Dragon.
Now imagine the same storyline unfolding in a mainstream Indian film. Not hinted at. Not metaphorical. An explicit central plot involving incest between close family members. Would Indian audiences embrace it as fiction, or would the film be rejected left, right and centre?
That question feels more relevant than ever as global audiences continue to consume stories that challenge social taboos while Indian mainstream cinema largely stays away from one of society's biggest taboos. Is India ready to watch incest on the big screen, or are there some boundaries that even fiction cannot cross?
The answer isn't as straightforward. Indian cinema has largely steered clear of incest as a central theme, treating it as one of the last remaining taboos on screen. While filmmakers have occasionally brushed against the subject with extreme caution, they have rarely explored it head-on. Even on OTT, where storytelling has become far more daring, examples are few. Ba***ds of Bollywood, the popular Netflix series created by Aryan Khan, son of Bollywood superstar Shah Rukh Khan, briefly brushes against the theme, albeit in a satirical and largely unintended manner. Television, too, explored a similar conversation years ago with Laut Aao Trisha. Then there was Haider (2014), where director Vishal Bhardwaj subtly invoked undertones of the Oedipus complex through the relationship between Haider (Shahid Kapoor) and his mother Ghazala (Tabu). The psychological concept describes a son harbouring unconscious romantic feelings for his mother while viewing his father as a rival.
Yet, unlike the West, where such narratives are often woven into mainstream fiction, India continues to keep the subject firmly at arm's length. That's where the conversation becomes far more complicated.
Unlike OTT, if films dealing with such sensitive themes release on the big screen? Will it ever have takers in the audience?
Biggest taboo
While we contemplated the answer, filmmaker Tejas Deoskar shared his perspective. The director, who has helmed projects like Ground Zero, Chhatriwali and more, told IndiaToday.in exclusively why incest remains one of the biggest taboos in Indian cinema.
Deoskar said the issue goes beyond censorship and is deeply rooted in the country's social and cultural fabric. While he believes storytelling in India is gradually becoming bolder, certain themes are unlikely to find acceptance in theatres because both audiences and producers remain cautious.
"Our social fabric is very different. We have a certificate board that decides what kind of content is suitable for theatrical exhibition because cinema halls are public spaces. I think that has a lot to do with our culture. Even then, we've seen violence and explicit content gradually making its way into theatres. These changes happen slowly,” he said.
Having said that, showing sensitive content comes with significant financial risks, something not every producer is willing to take. Explaining why filmmakers often remain cautious of such subjects as incest for theatrical releases, Tejas said the biggest challenge is the uncertainty around audience acceptance.
"For a producer, it's also about the risk. When someone invests money in a film, they need some assurance that audiences will accept it. If there's no guarantee, why would they take that risk? That's why change will happen gradually, although it is already happening to some extent. We've seen films like Obsession find an audience in India,” he added.
So why does incest continue to remain a taboo in Indian theatres? After all, shows like Game of Thrones and House of the Dragon have found massive audiences in India despite featuring such themes. Why, then, does the same subject seem far less acceptable when it comes to Indian cinema? Why such hypocrisy, if one may ask? According to Tejas, the answer lies in the cultural differences between India and the West.
“When we watch Game of Thrones, somewhere in the back of our minds we think, 'This doesn't happen here; it happens elsewhere.' That difference is embedded in our cultural DNA. Just because something exists in society doesn't mean everything has to be shown on screen. There is also something called dignity, and I think our culture values that,” the director added.
The hesitation isn't merely about culture. A theatrical release is marketed to families, reaches audiences across generations and often attracts greater political and public attention than an OTT title watched privately at home. For producers investing hundreds of crores, the fear of protests, boycott campaigns, legal challenges or delayed releases can become a bigger deterrent than the creative challenge itself.
However, how many producers or filmmakers would still dare to come up with a script that mirrors the societal problem?
Moral policing and fear of public backlash
National Award-winning filmmaker Sudipto Sen believes incest remains one of the few subjects Indian cinema is simply not ready to explore. According to the The Kerala Story director, the hesitation goes far beyond the censor board. While speaking to India Today, he argued that societal acceptance, moral policing and the fear of public backlash discourage filmmakers from even attempting such stories, making it nearly impossible for a producer or actor to back a film centred on incest.
"Our society is definitely not prepared for such topics. That's precisely why films in India go through multiple layers of scrutiny. There is the official censorship process, but beyond that, there is also moral policing, which often determines whether a film will be accepted by audiences or not,” he said.
Sen cited the example of the Bollywood film Lamhe (1991) starring Anil Kapoor, Sridevi and Anupam Kher, where he believed the makers had to face scrutiny back then for touching on the topic indirectly. However, he mentioned how social media footprints weren’t strong then. Otherwise, the film would have received immense backlash from the people.
"Lamhe wasn't even directly about incest, but it explored a young woman falling in love with a man who had loved her mother. Even that sparked a huge controversy. Back then, social media wasn't as active as it is today. Otherwise, people might have even resorted to stone-pelting outside Anil Kapoor's house. That's the kind of outrage such subjects can trigger,” he added.
It is not always censorship that acts as the main hurdle. Sen believes the biggest challenge is convincing producers and actors to back a subject that continues to be viewed as socially unacceptable.
While filmmakers remain divided on whether Indian theatres are ready for such themes, some viewers believe audiences have become more open to uncomfortable narratives, thanks to years of consuming global content on OTT platforms. Some fans feel that years of watching international fantasy dramas have helped them separate fiction from reality.
Priya, a 26-year-old software engineer and an avid fan of GoT and House of the Dragon, told us how OTT has increased the horizon of her thinking. The digital platforms have exposed Indian audiences to global storytelling, which is why such shows never really come across as cultural shock now.
“As someone who enjoys fantasy novels and shows, themes like incest in fiction aren’t new to me. At first, watching Game of Thrones and House of the Dragon was uncomfortable, but I eventually saw it as a fictional storytelling choice rather than an endorsement. That’s why I wasn’t shocked when Ba***ds of Bollywood explored a similar idea,” she said. Continuing, “I think OTT has exposed Indian audiences to more global storytelling, making them more accepting of such creative choices.”
Perhaps the real question is not whether Indian audiences are ready, but whether the ecosystem around theatrical filmmaking is. As streaming continues to expand the boundaries of storytelling, cinema appears to be playing by a different set of rules. Whether that gap narrows in the coming years, will only depend on the reception by the audience.
At the end of the day, filmmaking is also a business. In that case, how many filmmakers would actually risk making a film on a subject they know could alienate audiences? Writer Sumit Arora believes the hesitation has less to do with censorship and more with the fact that incest remains a deeply rooted social taboo. According to him, while filmmakers may occasionally explore such uncomfortable themes, they are unlikely to become part of mainstream storytelling because audiences continue to view them as controversial and unacceptable.
Need mature handling
While talking to IndiaToday.in, the writer who has written films like 83, Jawan and Stree among others, revealed that he has never been approached by any filmmaker with such a demand before. He emphasised that such topics demand immense maturity and sensitivity from the filmmaker to be depicted on the big screen.
Before citing Game of Thrones, Arora pointed out that the very reason incest generates shock is that it is not perceived as normal, even by audiences who consume global content.
“When you watch it, your first reaction is often, 'What the hell?' It's not something you think of as normal or commonplace. Precisely because it isn't socially acceptable, it is explored as an exceptional narrative device rather than something that can become an everyday storytelling theme,” Sumit said.
So will such stories ever have a chance to be explored on the big screen?
“I don't think so. Many filmmakers don't take up such themes because everyone wants to connect with the widest possible audience. Subjects like these automatically become niche, and that's why they are rarely explored in mainstream cinema,” he added.
This makes us go back to our main question: Is India ready to watch incest on the big screen? Perhaps the answer isn't a straightforward yes or no.
For now, it appears that the biggest hurdle isn't just audience acceptance; it's the ecosystem surrounding Indian cinema. Until filmmakers, producers and exhibitors are convinced that such a story can be told without inviting overwhelming controversy or financial risk, incest is likely to remain a theme explored on streaming platforms and in international productions, rather than on Indian screens.
