Papparazi’s “unnecessary zooms, inappropriate angles” condemned: Kantara’s Sapthami Gowda says focus on work, not bodies

Actor Sapthami Gowda, who is best known for her performance in Kantara, has condemned photographers for taking pictures and videos of female actors from inappropriate angles at events.

Sapthami Gowda took to her Instagram account to share a note addressing what she called a recurring and unacceptable issue. She stated that the unnecessary zoom-ins grab more eyeballs to their bodies than to their work. She demanded dignity and respect for female actors in the industry.

In her note, Sapthami wrote, “As women in the film industry, we stand together in addressing a recurring issue. Repeatedly, videos and photographs of female actors at public events are shot and circulated from inappropriate angles, with unnecessary zooms that focus on our bodies rather than our work. This behavior, carried out by a few individuals, is disrespectful and unacceptable.”

Sapthami Gowda continued, “We are here for our craft. We are here for our cinema. We unequivocally condemn deliberate zoom-ins and inappropriate angles. They are clear violations of dignity and will not be normalized or tolerated. We expected those covering events to maintain professionalism, basic respect, and decency.”

In conclusion, Sapthami Gowda wrote, “We stand united in setting this boundary. We stand in solidarity with every woman who has experienced this- and we will continue to support one another in demanding respect.”

This is not the first time an actress is raising her voice against this issue. Earlier Janhvi Kapoor, Mrunal Thakur, Zareen Khan, Nora Fatehi, and Ayesha Khan have spoken about being objectified by paparazzi. Now, Rukmini Vasanth and Divya Spandana are extending their support to Sapthami Gowda.

Sapthami Gowda made her acting debut with Duniya Suri’s Popcorn Monkey Tiger. But she rose to fame with her role in Rishab Shetty’s Kantara. Later she starred in Vivek Agnihotri’s The Vaccine War and the Kannada film Yuva. She was last seen in Sathish Ninasam’s film The Rise of Ashoka.