Peddi row: Why Janhvi Kapoor’s hypersexualisation and the post-release fix feel like a calculated marketing move

Social media erupted hours after Ram Charan’s latest Peddi hit theatres worldwide on June 4. The actor’s sports drama was widely discussed online- not for the story but for the hypersexualisation of the film’s lead lady, Janhvi Kapoor. Many on social media objected to the problematic male gaze in the film. Shots of Kapoor’s bosom and navel in the film were deemed unnecessary. The actress was also made to wear outfits that would accentuate her cleavage and overall frame.

Two days after the social media uproar, the film’s director, Bachi Babu Sana, took to social media to issue an apology and address the concerns of the fans. While Babu insisted that he respects women ‘on and off screen’ and announced that changes would be made in the concerned scenes, the apology seems to be issued in retrospection and deliberation, creating the much-needed noise that a film needs right after a film releases.

What did Buchi Babu Sana write?

Taking to X, the director of Peddi wrote, “As a filmmaker, I believe cinema should entertain, inspire, and connect with audiences. It should never make anyone feel uncomfortable or disrespected. We have heard the feedback regarding certain scenes in Peddi and have taken it seriously. I have always had immense respect for women, both on and off screen, and it was never our intention to objectify or disrespect any female character. If any part of the film has been perceived that way, we respect those sentiments, understand the concerns being raised, and sincerely apologise.

After reviewing the feedback, we have decided to make changes to the concerned portions. Cinema grows through its connection with audiences, and as storytellers, we have a responsibility to be mindful of evolving perspectives and sensitivities. Every woman deserves to be respected, valued, and represented with dignity. We remain committed to telling stories that celebrate strong characters and uphold those values. Thank you to everyone who shared their views honestly and sincerely.”

Why the apology seems irrelevant

Objectification is not a technical glitch; it is a creative choice. Even though the filmmaker in his apology claims his intent was never to objectify, the questionable scenes and shots in Peddi tell a different story. A specific shot—say, tracking an actress’s waist during her entry scene—does not happen by accident. It requires a director to frame it, a cinematographer to light it, an actor to shoot it, an editor to select that specific take from multiple options, and a colourist to grade it.

The mandate on the editing table was very clear, and nothing seemed accidental. It was to titillate the audience or offend them in equal measure.

Claiming it was "unintentional" treats film production like a series of random accidents rather than a series of highly calculated decisions designed to titillate. So Babu’s apology feels all the more like a PR strategy to keep his film in the news.

The apology is also reluctant to take full ownership of what has offended many. “If any part of the film has been perceived that way..." says a part of the apology, which basically means that the filmmaker is also sorry for those who have been offended, not for objectifying his leading lady.

Also Read: Inside Ram Charan’s intense physical transformation for Peddi: Yoga, kushti, calorie deficit diet

Janhvi Kapoor’s chats leaked

Amid Babu’s apology, Janhvi Kapoor’s text messages with a close aide reportedly leaked, where the actress explicitly mentioned how she had complained about objectionable shots in the film. The chats also revealed that Ram Charan, the leading man of Peddi, too had spoken in her support; however, her complaints were ignored.

WION cannot verify the authenticity of the screenshots that have gone viral over the weekend, but if true, the chats only highlight a very grim situation in the Indian film industry where women and their boundaries are often overlooked. If the heroine had specified not to focus on her waistline or her breasts, why did the makers continue to commodify her on screen? Why were the changes incorporated after the film hit theatres?

A PR stunt?

While the controversy continues to dominate social media, three days after Peddi hit theatres, many are also speculating if the entire controversy was a deliberate move from the makers or the actress to grab attention. If that was the intent, the move has been successful because the controversy has not only led many to talk about the film but also made many curious about the film itself.

It should be noted that this is not the first time that Janhvi Kapoor has been presented in such a way on screen. Films like Param Sundari and the Telugu film Devara, too, presented Kapoor in a similar manner as Peddi. In both these films, Janhvi’s role was overtly sexualised. Devara, in fact, had several suggestive dialogues about the woman constantly talking about getting turned on by men who flex muscles.The outrage around Peddi seems delayed.

Ultimately, the outrage cycle surrounding Peddi exposes a deeply exhausting blueprint in contemporary Indian cinema. If the leaked production chats are true, the controversy isn't an accidental technical glitch; it is an active breach of professional boundaries that reduces an actress's explicit lack of consent to a mere negotiable commodity. While it is tempting to dismiss the timeline as a synchronised PR stunt designed to manufacture box-office curiosity, the deeper tragedy is that this objectification isn't new. From Devara to Param Sundari, the industry deliberately created Janhvi Kapoor as a visual accessory to bridge underwritten scripts.

The real victory is, however, of a rapidly evolving audience that is finally refusing to accept regressive visual grammar in the name of entertainment.