Tabassum, SamirahTasnim, Nishat2026-08-172026-08-1720262026-05ID 22203067https://hdl.handle.net/10361/29230This thesis is submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in English, 2026.Cataloged from PDF version of thesis.Includes bibliographical references (pages 37-39).This research will explore how female protagonists of Indian Cinema in Haq and Bulbbul are portraying female resistance in a positive light while showcasing the narrative of the society. Both the protagonist has become a killjoy by choosing resistance over endurance. In Indian culture women are often seen suffering and enduring violence in their own households But when they finally try to resist, they become the Killjoy of the society. This paper will mainly showcase how feminist resistance appears in contemporary Indian cinema. It will explore the ideas of inherent trauma, domestic violence, patriarchy and feminist resistance in our culture. Bulbbul (2020) presents a gothic myth which is based on child marriage, sexual violence and revenge in supernatural form whereas, the movie Haq (2025) is inspired by a real life case of Shah Bano of 1985, this movie deals with unrealistic expectation and emotional neglence in marriage in a realist manner. The objective of this study is to show how women’s suffering is normalised as tradition and virtue within family structures. This study has used mostly quantitative methods for the research. For instance, thematic analysis of the films focusing on narrative structure, character development and visuals. Research papers that are relevant with the theories like gender performativity by Judith Butler, Sigmund Freud's theory about and Sara Ahmed’s feminist theory of Killjoy are also read thoroughly for a deeper understanding of the concepts. This research argues that both the female leads eventually become disruption of the society as they fail to sustain in imposed environments. They choose to resist in their own ways. Bulbbul's changing into a supernatural avenger uncovers the violent roots of patriarchal order. Meanwhile, Shazia Bano’s choice to leave her marital home shows a quiet but radical act of withdrawal from exploitation. Although their forms of resistance differ both challenge the social systems that romanticize women's endurance.This paper will try to demonstrate how contemporary cinematic narratives are also exposing the harsh realities of the society by portraying women’s resistance, challenging the harmony of the society by being a Killjoy.40 pagesen-USAttribution-NonCommercial-NoDerivatives 4.0 InternationalBRAC University theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission.http://creativecommons.org/licenses/by-nc-nd/4.0/Systematic oppressionPatriarchyGender inequalityFeminismIndian cinemasHaqBulbbulFeminism and motion pictures.Motion pictures and women.Women in motion pictures.Motion pictures--India.Thesis