The backlash against Peddi continues to grow, even as the film performs strongly at the box office. The immediate criticism targets the portrayal of Janhvi Kapoor’s character Achiyyamma, with audiences objecting to repeated visual framing that focuses heavily on her body. Critics argue that such depiction reduces the character to visual emphasis rather than narrative depth.
Another flashpoint has intensified the debate. A scene featuring Ram Charan’s character kissing Achiyyamma without consent, later justified as an expression of love, has triggered strong reactions. Viewers and commentators have linked the moment to a larger issue in mainstream cinema: the normalisation of problematic romantic behaviour under the guise of storytelling.
As criticism spread, Jagapathi Babu publicly defended Janhvi Kapoor and pushed back against personal attacks on actors. He said performers work within a director’s framework and do not independently shape every creative decision. He also urged audiences to separate film criticism from online targeting of individuals, warning that such attacks often cross into harassment.
The industry response has not been unified.
Jaya Bachchan pointed to her own experience in cinema and recalled an incident where she resisted what she considered objectification during a shoot. She stated that she refused to continue working with the director involved, reinforcing the idea that actors must draw clear personal boundaries when they feel uncomfortable with creative choices.
Kareena Kapoor Khan offered a different view. She argued that sensuality on screen does not require revealing clothing or overt visual framing. She cited earlier performances in Indian cinema to underline that emotional expression and performance often define impact more than physical exposure.
Kangana Ranaut emphasised that filmmaking operates as a collaborative space. She said actors can and should raise objections during the creative process if something feels inappropriate. According to her, most filmmakers do not intentionally set out to objectify women, and such issues often arise from creative interpretation rather than intent.
Anu Aggarwal took a firmer position. She urged actors to be more selective about the roles they accept and stressed that meaningful change will only happen when both audiences and performers begin rejecting content that undermines dignity. She placed responsibility not only on filmmakers but also on actors and viewers.
Amid rising criticism, the director of Peddi issued a public apology, stating that there was no intention to disrespect women and indicating that objectionable portions would be reconsidered.
Despite that, the debate has not cooled. Instead, it has expanded into a broader industry reckoning. The film has become a case study in how modern audiences interpret representation, how filmmakers balance creative freedom with responsibility, and how quickly on-screen choices now translate into real-world ethical scrutiny.
