Janhvi Kapoor has addressed the backlash around the Telugu film Peddi with an admission that is still unusual in Indian film publicity: her character was objectified, the narrative risked harm, and she should have used her industry privilege to push back before the material reached an audience.
What she said on the record
Speaking on Koffee With Karan Season 9 alongside Varun Dhawan, Kapoor said she initially hesitated to discuss the criticism because many people had worked hard on the film. But she told host Karan Johar that the potential impact on women made it impossible to ignore.
“It weighs heavily on my conscience,” she said. Asked whether she could have been more vigilant, she answered: “One hundred per cent, yes.” She called the portrayal “extreme objectification” and said it risked normalising sexual assault.
Kapoor also said she felt uncomfortable during the shoot and described the experience as “a violating experience in a way.” She noted that scripts do not always reveal camera angles, but accepted responsibility for not challenging decisions as they became clearer.
What sparked the Peddi row
Peddi stars Ram Charan as the title character, with Kapoor playing Achiyamma. Directed by Buchi Babu Sana, the film came under fire for introductory scenes and a song that critics said prioritised Kapoor’s physical appearance over her character.
The most debated moment was a power-cut sequence in which Peddi kisses Achiyamma without her consent. Viewers argued the film treated an unwanted advance as romance and risked normalising sexual assault.
After the backlash, Buchi Babu Sana issued a public apology and said the team had no intention of disrespecting women. The controversial sequences were edited or removed from the theatrical cut.
Why the admission matters
Kapoor’s reflection moves the story from an actor’s defence to a larger question about power on set. She pointed out that actors with privilege can raise objections while a scene is still being designed and shot, rather than after a finished film is judged.
That has particular relevance in Indian cinema, where the debate over the male gaze, consent and how women are framed has grown louder across Hindi and regional releases. Her observation that she would face criticism for privilege anyway, so she should have leveraged it, is a blunt acknowledgment that star power is a tool as much as a target.
- Scripts often leave out camera angles and choreography, so actors may not see the full frame in advance.
- Privileged actors can use their position to ask probing questions early, when changes are still possible.
- On-screen consent is an editorial choice, not simply a performance choice, and audiences are now treating it that way.
For an industry negotiating representation and hierarchy on set, Peddi is a case study in correction arriving after the fact. Kapoor’s resolve to ensure that it does not happen again may matter only if the next difficult conversation happens inside production, not after release.
Source: ETV Bharat National
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