This research article takes a feminist, socio-cultural perspective on Deepa Mehta's Fire-the Indian film which shook patriarchal roots and transcended perspectives from-the-indian-film standpoint as far as queer desire goes in the socio-political atmosphere-in India. Radha and Sita are the two protagonist women of the film who journey through love, identity, and resistance to things within a patriarchal-hegemonic then normative framework. It critiques the stereotypical representation of women in conventional cinema whereby they are relegated to the status of subservient wives and mothers through a storytelling of roles crammed with notions of gender and society. The article uses works of feminist theorists such as Emily Martin, Nivedita Menon, and Gayle Rubin to explore intersectionality, reproductive health, and sexual politics for a critical analysis.The story line of Fire bears the hallmark of feminism, as it strikes a chord with the idea of desire as well as women's agency, thus assuming the form of a revolutionary text on the redefinition of love as well as self-expression in opposition to repressive cultural norms. Not only does this paper locate Fire within wider discourses on caste and class in queer readings, but it also makes apparent the intersection of those dynamics with gender and sexuality. In the same breath, comparisons with films such as Section 376D give reflections on the changing representation of marginalized identities in Indian cinema, thereby taking a stand in favour of legal and social reforms for inclusivity and justice for all genders. This reveals the continuing importance of Fire in discussions about feminism, queer identity, and politics of representation in Indian society.