The relationship between cinema and Indian religious culture is a profound and symbiotic one, marked by a deep exchange of ideas, aesthetics, and spiritual themes. For over a century, filmmakers have drawn from India’s rich tapestry of beliefs, rituals, and philosophies to create narratives that resonate with audiences worldwide. Conversely, cinema has played a crucial role in shaping and reflecting modern understandings of these ancient traditions, both within India and abroad.
From the silent era, Indian cinema has been steeped in mythology and devotional narratives. Early masterpieces often retold epics like the Ramayana and the Mahabharata, bringing deities and spiritual heroes to life on screen. This tradition continues today, with films exploring the lives of saints, the philosophies of Hinduism, and the practices of other faiths like Buddhism and Sikhism. The cinematic medium’s ability to visualize the divine has made it a powerful tool for conveying complex spiritual concepts to the masses, turning mythological tales into living, breathing stories.
Beyond its borders, world cinema has also been captivated by Indian spirituality. Directors from the West have used India as a backdrop for spiritual journeys, quests for enlightenment, or cross-cultural encounters. These films, from documentaries to fictional narratives, often focus on the vibrant rituals, the serene ashrams, and the bustling sacred cities like Varanasi. In doing so, they not only introduce global audiences to the visual spectacle of Indian religious life but also prompt a deeper reflection on universal themes of faith, destiny, and the search for meaning.
Ultimately, cinema acts as a bridge. It allows for the preservation and reinterpretation of ancient religious stories, making them accessible to new generations. At the same time, it provides a unique window for the world to witness and understand the living, evolving nature of Indian spirituality.
Ritual, Performance, and Devotion on Screen
One of the most compelling aspects of Indian religious cinema is its blending of ritual and performance. In many traditional Indian communities, religious stories are passed down not only through scripture, but through music, dance, and dramatic reenactment — elements that naturally align with the language of film. In this sense, cinema is a continuation of a much older performance tradition, rooted in the Nāṭyaśāstra, the ancient Sanskrit treatise on the performing arts.
Films like Jai Santoshi Maa (1975), a surprise box office success, show how devotional cinema can move beyond entertainment to become an object of veneration itself. Viewers didn’t just watch the film — they worshipped during screenings, treating the cinema hall as a temporary temple. More recently, OMG: Oh My God! (2012) and PK (2014) have offered satirical yet heartfelt explorations of religious institutions and blind faith, prompting mainstream audiences to re-examine the balance between devotion and dogma.
Meanwhile, regional cinemas across India have produced numerous films that focus on local deities, pilgrimage stories, and saints — from Tamil films on Murugan and Ayyappan, to Marathi films on Sant Tukaram. These regional narratives often blend folklore, theology, and realism, offering nuanced portrayals of belief systems deeply embedded in local culture.
The Sacred City as Cinematic Space
Nowhere is the spiritual presence of India more palpable on film than in depictions of sacred cities — especially Varanasi. With its winding alleys, cremation ghats, temple bells, and endless rituals, the city has become a cinematic symbol of the eternal. In Indian and international films alike, Varanasi is not just a setting but a spiritual character in its own right.
In Masaan (2015), Varanasi becomes the backdrop for personal transformation and social commentary, where the ancient rites of cremation contrast with the struggles of modern youth. Similarly, in The River (1951) by Jean Renoir, the Ganges reflects the cycle of life, death, and renewal — a metaphor as universal as it is deeply Indian.
Documentaries like An Encounter with the Sacred or Verso Benares (2022) approach the city with poetic reverence, allowing silence and observation to speak louder than dialogue. Through long takes and immersive visuals, these films do not aim to explain, but to experience — allowing the viewer to enter the rhythm of the sacred.
Conclusion: An Evolving Spiritual Landscape
Cinema continues to evolve as a spiritual medium. No longer confined to mythological retellings or ritual portrayals, contemporary films increasingly explore spirituality as personal experience, transcending institutional religion. Whether in the questioning tone of modern satires or the quiet devotion of regional narratives, Indian religious cinema reflects a society negotiating its traditions in a changing world.
In a global context marked by fragmentation and uncertainty, the enduring relationship between film and Indian spirituality offers not only aesthetic richness but also a space for reflection — on the divine, the self, and the power of storytelling as a sacred act.