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Rebirth of parallel cinema
Known for its realism, naturalism and art, the parallel cinema, more or less, focuses on the socio-political conditions in the prevailing times.
THE TREND of parallel cinema is constantly developing in India. Indian cinema always being known for its mass oriented and entertaining content, is now extending its arms in different genres. Parallel cinema, is a genre of films, which is different from the mainstream films, and is also closer to reality.

The Indian New Wave came as an alternative to the mainstream commercial cinema known as 'Parallel Cinema'. Known for its realism, naturalism, art, the parallel cinema, more or less, focuses on the socio-political conditions in the prevailing times. This genre of cinema spread not only over Bollywood but also in regional cinemas.

 
Few pioneers of regional cinema, who are today accredited with carrying forward the baton of parallel cinema are Satyajit Ray, Bimal Roy and Ritwik Ghatak in Bengali, Adoor Gopalakrishnan and Arvinda in Malayalam, Mani Ratnam and Bala in Tamil, Shyam Benegal, and many others.

Having its beginnings in early 1920’s, the trend of parallel cinema was smooth until the late 80’s. By the 90’s art cinema, had become repetitive, and stagnant. Commercialization had stronger roots by now, hence the era of 'Indian New Wave' declined. In the recent decade, however, the trend of parallel cinema re-developed in India. These films, in spite of being different in content, and approach have tasted success commercially in recent times.

 
It is good that the myth of Indian cinema being mass oriented filled with fight sequences and songs only are being broken. Indian cinema is now known world wide for its art cinema also. Such cinema sets the viewers to think and must be encouraged.

Some classic examples which exemplify parallel cinema are Bandit Queen, Fire, The Namesake, Peepli Live, Water, A Wednesday, Aamir, Dor, Valu, Vihir, Grahanam.

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