Critiquing the Motion (Cinema) through Queer Lens

Films are one of the most powerful tools and medium in the present times to convey certain set of ideology by keeping people intact and hooked to the screens. People can easily empathize and sympathize seeing movies as, one can relate well by understanding the inherent grammar or language of the film by connecting it to the reality. The paper here will try to form a bridge between the Queer Studies and Film Theory. The term Queer in itself stands for something weird and abhorred. It stands for the people of the alternative sexualities who do not fall into the bracket of binaries. Thus, queer in this way becomes an umbrella term to unite all these identities and is a creation of a new form or a new language to bring the wind of change in the lives of people who are marginalized since ages. In this way queer here also becomes a symbol of hope and stands for multiplicity of desires and identities. The movies taken here for research purpose Chandigarh Kare Aashiqui (2021) and Badhai Do (2022) both are recent films which talk about the queering of cinema and toppling down the accepted normal gender roles in the films. Both the movies try to create an alternative structure and vision for the public, broadening the horizon of expectations