The most significant contribution to the discourse on open relationships in Sinha’s career comes from the thriller Ittefaq (2017). While marketed as a murder mystery, the film’s narrative engine is driven entirely by the complexities of a failing marriage and implied non-monogamy.
In the film, Sinha plays Maya, a woman trapped in a marriage with a possessive author, Vikram (Sidharth Malhotra). The plot hinges on Maya’s meeting with a stranger, Chirag, in a hotel room—a meeting that suggests a pursuit of emotional and physical intimacy outside her marriage.
Unlike typical Bollywood narratives where infidelity is either demonized or the source of slapstick comedy (as seen in films like No Entry or Garam Masala), Ittefaq treats the concept of an "open" or extramarital encounter with serious suspense and moral ambiguity. Sinha’s portrayal of Maya does not judge the character for seeking connection outside her marriage; rather, the film explores the danger of repressing desires. Maya represents a modern woman who attempts to reclaim agency over her romantic life, stepping out of the traditional "pativrata" (devoted wife) trope. This role marked a crucial turning point, presenting a storyline where a woman's pursuit of alternative intimacy was a plot driver rather than a character flaw.
Sonakshi’s filmography post-2020 acts as a conscious critique of the very industry that launched her. Consider the contrast:
| Traditional Bollywood (Sinha's early career) | Modern Sonakshi Sinha Projects | | :--- | :--- | | The heroine is a virgin or morally "pure." | Fareedan (Heeramandi) is a courtesan who uses sexuality for revenge. | | Love is destiny (one true love). | Anjali (Dahaad) has ambiguous, secondary relationships. | | Jealousy proves love. | Her personal life displays comfort with non-possessiveness. | | Marriage is the ultimate goal. | Her characters seek power, justice, or survival—not weddings. |
By embracing roles where romance is either absent, toxic, or polyamorous in spirit, Sinha has inadvertently become a deconstructionist. She shows that a female lead can be compelling without a "love interest," or that when love exists, it can be as messy, open, and provisional as real life. sonakshi sinha sex open hot
| Trope | Example Films | |-------|----------------| | Opposites attract | Dabangg, R… Rajkumar | | Forbidden love | Lootera, Kalank | | Love triangle | Action Jackson, Kalank | | Small-town romance | Dabangg, R… Rajkumar | | Revenge + romance | Heeramandi | | Modern supportive love | Double XL |
The turning point came with her foray into web series and OTT content. In Amazon Prime’s Dahaad (2023), Sinha played Anjali Bhaati, a sharp, morally complex police officer. The show deliberately stripped away any conventional romantic arc. Her character’s relationships are hinted at but never central; they are messy, undefined, and secondary to her professional agency. This was a radical departure from the heroine whose existence once revolved around a hero’s love song.
But it was Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar (2024) that cemented this evolution. Sinha’s Fareedan is not a lover but a usurper, a survivor, and a strategist. The romantic storylines in Heeramandi are transactional, laced with power, betrayal, and queerness. Fareedan uses romance as a weapon, not a refuge. She shares no "happily ever after" with a single partner. Instead, the narrative embraces emotional polyamory and political seduction. Sinha’s performance rejected the audience’s need for a neat romantic closure, instead presenting love as a fluid, dangerous, and often non-exclusive game.
Sinha’s early career was dominated by high-octane action romances where the relationship dynamic was strictly binary. In films like Rowdy Rathore (2012) and Son of Sardaar (2012), her characters were largely reactive, defined by their loyalty to the male protagonist.
However, the theme of "non-monogamy" appeared in her film R... Rajkumar (2013), albeit in a conventional villainous context. In this narrative, the antagonist attempts to claim the heroine, creating a dynamic of possession rather than partnership. During this phase, deviations from standard monogamy were framed as threats to be neutralized, rather than valid relationship choices. Sinha’s role was confined to the traditional moral center, leaving little room for the exploration of open or fluid relationship dynamics. The most significant contribution to the discourse on
Sinha’s off-screen life has further amplified this thematic shift. Her long-term relationship with actor and rapper Zaheer Iqbal has been characterized by an unconventional openness. Unlike Bollywood’s traditional "power couple" playbook—secluded dates, secret weddings, and curated social media PDA—Sinha and Iqbal have normalized a relaxed, non-possessive dynamic. They frequently acknowledge past relationships, interact freely with ex-co-stars, and reject the performative jealousy that often defines celebrity pairings.
While neither has explicitly labeled their relationship as "open," their public demeanor aligns with the philosophy of ethical non-monogamy: trust without ownership, freedom without secrecy. In a country where "loyalty" is often conflated with exclusivity and surveillance (both digital and social), Sinha’s casual, nonchalant attitude toward traditional couplehood is quietly revolutionary. She has normalized the idea that a woman can be deeply committed to a partner without being defined by him, and that commitment need not demand the erasure of individual autonomy.
As expected, Sinha’s comments on open relationships drew the ire of traditionalists. Social media was flooded with comments like, "Beta tumhe Rajesh Khanna ki films dekhni chahiye" and "This is western culture destroying Indian families."
But interestingly, the backlash was quieter than expected. A significant chunk of Gen Z and Millennial fans defended her. On Reddit and Twitter, users praised her for "normalizing therapy-speak" in Bollywood.
One viral tweet read: "Sonakshi Sinha talking about ethical non-monogamy while her contemporaries are still pretending to be virgins in white chiffon. We love a growth arc." The turning point came with her foray into
Psychologists and relationship counselors also weighed in. Dr. Meenal Sharma, a Mumbai-based relationship therapist, noted, "When a mainstream celebrity like Sonakshi speaks about open relationships without sensationalism, it removes the shame. It doesn't force people to be polyamorous; it forces them to communicate, which is healthy."
You cannot understand Sonakshi’s philosophy without looking at the work she has chosen post-2020. For years, she was trapped in the "angry young man's love interest" trope. But with the advent of streaming, she made a conscious pivot.
Her OTT debut Dahaad (2023) saw her playing Anjali Bhaati, a cop dealing with a serial killer. The romance here was minimal, but the character's internal life was rich. However, it was her role in Heeramandi: The Diamond Bazaar (2024) that truly signaled the shift.
Playing Fareedan, a fiery courtesan driven by revenge, Sonakshi explored a sexuality that was raw, transactional, and unapologetic. Fareedan doesn't seek a husband; she seeks power. She uses seduction as a weapon, and her "romantic" scenes are laced with manipulation. It was a far cry from the virginal heroines of her past.
But the real thesis statement came with Double XL and her upcoming slate of projects. She has publicly stated that she is hunting for scripts that explore "situationships," "platonic life partners," and the emotional chaos of modern dating.
"I want to play a girl who dates three guys at once without guilt, not because she’s evil, but because she’s trying to figure herself out," she told a leading tabloid. "We show men doing that as 'studs.' We show women doing that as 'villains.' I want to blur that line."