Abstract: This paper critically examines the representation of tribal communities in India’s non-mainstream film movement, commonly known as Parallel Cinema. It highlights a gap in scholarship, which has often engaged with caste and class but neglected tribal identity. The study argues that tribal portrayals have shifted from an early “urban gaze,” rooted in stereotypes, to more authentic and politically resistant narratives. Drawing on the concept of “othering,” the paper analyzes Satyajit Ray’s (Ray, 1970) Aranyer Din Ratri, where tribal figures appear as symbolic foils for urban protagonists, reflecting the limitations of early humanist cinema. It then explores a transformative phase in the works of Mrinal Sen and Goutam Ghose. Films like Mrigayaa and Dakhal frame tribal life as allegories of systemic exploitation and resistance to state and patriarchal oppression. The analysis concludes with contemporary films such as Udalaaazham and Jai Bhim, which represent a new commitment to authenticity through indigenous casting and native languages. By restoring agency to tribal voices, these films mark cinema itself as an act of resistance. The paper contends that while Parallel Cinema laid the groundwork, the pursuit of trulyequitable representation remains unfinished.

Keywords: Tribal Representation, Othering, Parallel Cinema, Indigenous Voices, Urban gaze.