Abstract: The cinematic representation of marginalised sexes in India has always conformed to the social stereotypes. Queer characters in Indian cinema were often depicted using stereotypes and caricatures, focusing on comic relief or portraying them as villains or the social ‘Others’.These portrayals reinforced negative stereotypes and failed to present the nuanced realities of LGBTQIA+ individuals. However, there have been some films where the intersection of the social and psychological marginalisation of Queer individuals has been manifested with utmost sincerity. Works like Darmiyaan: In Between (1997), Aligarh (2015) and Geeli Pucchi (2021) realistically uphold the social ostracisation the LGBTQIA+ community faces and how it makes the individuals psychologically and socially alienated. The methodology of this research work runs behind the choices of films across different decades. It will help in tracing the progress and shifts that Indian Cinema has imbibed in recent years and will be fostering in the near future in terms of the representation of queer selves. The detailed study of these three films encompassing protagonists from different class, caste and social strata will open a window of discussion regarding the change in the perspective of queer storytelling and characterisation in Indian Cinema.

Keywords: Queer; Cinematic representation; Marginalisation; Psychosocial Isolation; Homosexuality