When House of the Dragon Season 3 featured a scene in which Prince Regent Aemond Targaryen kissed his mother, Dowager Queen Alicent Hightower, it sparked widespread discussion online. Even for a franchise known for portraying incest as a recurring theme, the sequence surprised many viewers and reignited debates about the limits of storytelling.
Despite the controversy, many fans viewed the moment within the established fictional universe created by George R.R. Martin, where the Targaryen family has historically practised incest to preserve its bloodline. While unsettling and morally controversial, the theme has long been embedded in the narrative world of Game of Thrones and House of the Dragon.
Now imagine a similar storyline forming the central plot of a mainstream Indian film—not merely hinted at or treated metaphorically, but explicitly depicting incest between close family members. Would audiences accept it as fictional storytelling, or would it face overwhelming rejection?
The question has gained relevance as viewers increasingly consume global content that explores social taboos, while mainstream Indian cinema continues to avoid one of society's most sensitive subjects. Is India prepared to watch such stories on the big screen, or are there boundaries that fiction still cannot cross?
The answer is far from simple. Indian cinema has largely avoided portraying incest as a primary narrative, treating it as one of the final taboos on screen. Although some filmmakers have touched upon the subject with considerable restraint, very few have explored it directly. Even on OTT platforms, where storytelling enjoys greater creative freedom, examples remain limited.
Aryan Khan's Netflix series Ba**ds of Bollywood* briefly references the theme in a satirical and largely unintended context. Television addressed a somewhat similar conversation years ago through Laut Aao Trisha. Vishal Bhardwaj's Haider (2014) also subtly incorporated elements associated with the Oedipus complex through the relationship between Haider, played by Shahid Kapoor, and his mother Ghazala, portrayed by Tabu. The psychological concept refers to a son's unconscious romantic attachment to his mother while perceiving his father as a rival.
Unlike Western entertainment, where such themes occasionally appear in mainstream narratives, Indian cinema continues to keep the subject at a distance.
Even if OTT platforms have expanded the scope of storytelling, the question remains whether films centred on such sensitive themes could find acceptance in theatres.
One of cinema's biggest taboos
Filmmaker Tejas Deoskar, known for projects such as Ground Zero and Chhatriwali, believes incest remains among the most sensitive subjects in Indian cinema.
Speaking exclusively to India Today, Deoskar said the issue extends well beyond censorship and is deeply rooted in India's cultural and social values. While he acknowledged that storytelling has gradually become more adventurous, he believes certain themes are unlikely to gain widespread acceptance in theatres because both audiences and producers remain cautious.
"Our social fabric is very different. We have a certification board that determines what content is appropriate for theatrical release because cinemas are public spaces. That has a great deal to do with our culture. Even then, we've gradually seen more violence and explicit content entering theatres. These changes happen over time," he said.
He also pointed out the commercial risks involved in backing such stories.
"For producers, it's about financial risk as well. When someone invests money in a film, they need confidence that audiences will accept it. Without that assurance, why would they take such a chance? Change will come gradually, although it has already begun to some extent. We've seen films like Obsession find viewers in India," he added.
This raises another question. If Indian audiences readily watch shows like Game of Thrones and House of the Dragon, why does the same subject appear far less acceptable in Indian cinema?
According to Deoskar, the answer lies in cultural context.
"When we watch Game of Thrones, somewhere in our minds we think, 'This doesn't happen here; it happens elsewhere.' That distinction is deeply rooted in our cultural mindset. Just because something exists in society doesn't mean it has to be portrayed on screen. There is also something called dignity, and our culture places great value on that," he said.
He also noted that theatrical films face unique pressures. Unlike OTT content viewed privately, theatrical releases are marketed to families, watched across generations and often attract greater political and public scrutiny. As a result, concerns over protests, boycotts, legal challenges and delayed releases become significant deterrents for producers investing large sums.
Fear of public backlash
National Award-winning filmmaker Sudipto Sen believes Indian society is still not prepared to engage with stories centred on incest.
Speaking to India Today, the The Kerala Story director argued that the hesitation extends beyond censorship. According to him, social acceptance, moral policing and fears of public backlash discourage filmmakers from pursuing such subjects, making it extremely difficult to secure support from producers and actors.
"Our society is definitely not ready for topics like this. That's why films in India undergo multiple layers of scrutiny. Apart from official censorship, there is moral policing, which often determines whether audiences will accept a film," he said.
Sen referred to Lamhe (1991), starring Anil Kapoor, Sridevi and Anupam Kher, as an example of how even indirect exploration of sensitive relationships generated controversy.
"Lamhe wasn't directly about incest, but it showed a young woman falling in love with a man who had once loved her mother. Even that created a major controversy. Social media didn't exist then as it does today. Otherwise, the backlash could have been far more severe," he said.
He believes the primary obstacle is not censorship itself, but persuading producers and actors to associate themselves with a subject that society continues to regard as unacceptable.
Audiences becoming more open?
While filmmakers remain divided, some viewers believe Indian audiences have become more receptive to unconventional narratives after years of consuming international content through streaming platforms.
Priya, a 26-year-old software engineer and an avid fan of Game of Thrones and House of the Dragon, said OTT platforms have broadened the perspectives of many viewers.
"As someone who enjoys fantasy novels and shows, themes like incest in fiction aren't new to me. Initially, Game of Thrones and House of the Dragon made me uncomfortable, but eventually I viewed them as storytelling choices rather than endorsements. That's why I wasn't particularly surprised when Ba**ds of Bollywood* touched upon a similar idea," she said.
"I think OTT platforms have exposed Indian audiences to global storytelling, making people more accepting of such creative decisions," she added.
Storytelling versus commercial realities
Perhaps the central question is not whether audiences are ready, but whether the broader theatrical ecosystem is prepared to support such narratives.
As streaming platforms continue to push creative boundaries, theatrical cinema still operates under different expectations.
Writer Sumit Arora, known for films including 83, Jawan and Stree, believes the hesitation stems less from censorship and more from the fact that incest remains a deeply entrenched social taboo.
He told India Today that he has never been approached with such a subject and emphasised that any attempt to portray it would require exceptional maturity and sensitivity.
Before referencing Game of Thrones, Arora noted that the reason such scenes provoke shock is precisely because audiences do not consider incest normal.
"When you watch it, your immediate reaction is often, 'What the hell?' It isn't something people see as ordinary. Precisely because it is socially unacceptable, it is used as an exceptional narrative device rather than something suitable for everyday storytelling," he said.
Asked whether such stories could eventually become part of mainstream Indian cinema, Arora remained sceptical.
"I don't think so. Most filmmakers want to connect with the widest possible audience. Subjects like these automatically become niche, which is why they are rarely explored in mainstream films," he added.
Ultimately, the question of whether India is ready to watch incest portrayed in mainstream cinema has no simple answer.
For now, the biggest challenge appears to lie not only in audience acceptance but also in the larger ecosystem surrounding Indian filmmaking. Until producers, filmmakers and exhibitors believe such stories can be told without inviting overwhelming controversy or financial risk, incest is likely to remain a subject explored primarily through international productions and streaming platforms rather than mainstream Indian theatrical releases.
