This article addresses the transformation of dissent in Indian cinema over the past decade. In analysing two films by Vishal Bhardwaj and Dibakar Banerjee, the author argues that the incorporation of critical ideas on society and politics into the mainstream cinema reflects the diminishing potential of dissent in India, and is related to the rise of neo-liberalism and consumer culture. The present fascination with rural India and the subaltern figure in films means that the latter is being consumed as a product by the spectators of the films, as opposed to concern with social and political topics in politically committed cinema.
