Hazra, Mousumi2023-04-162023-04-1620212320-3625https://ir.nbu.ac.in/handle/123456789/4864The definition of the historically abounding F-Word, Feminism, is continuously being shifted from one notion to another, varying in accord with class, caste, and gender across generations. Starting with the website Everyday Sexism launched by Laura Bates in 2012, Fourth wave feminism has recently witnessed a paradigmatic shift from the previous waves of feminism. Currently, as we consider the fluidity of gender construction and interact with various forms of it every day, social media or representation of women on-screen has been one of the most influential factors behind constructing our ‘already gendered’ selves. As the applications of power disseminate the idea of empowerment, equality and freedom also differ alongside. Hence, today’s feminism looks up to a lot more exposure where people can put themselves out there without adhering to any kind of censorship or asceticism. This approach has been productively exercised through the online multimedia digital platform Agent of Ishq, directed and introduced by the filmmaker Paromita Vohra in 2015. This research will initially be focused on the way how some mainstream Indian movies, featured to be among the ‘top 10 feminist films’, formed the idea of feminism vis-à-vis how far the feminist implication through Agent of Ishq addresses and adheres to the current ‘wave’ of feminism in India. Keywords:enFilmFeminismEmpowermentSocial mediaIdentityArticle