After the 2012 Delhi-gang rape case, patriarchal institutions in India were challenged with vigor anew. This pushback became momentous with the eruption of the #MeToo movement. In the Indian film industry, the most visible change appeared in the gradual increase of films with female-leads. And yet, still less then 10% of films coming from Mumbai are directed by women. I propose that a composite of interrelated concerns, including but not limited to reputability, personal security, economic stability, and flexibility to balance professional and family life, thwart women’s success in the Bombay film industry. I base my argument on interviews with women and men working in the industry, and participant observations of independent film productions on set and the everyday practices at a small production house in Mumbai during my fieldwork in 2017. I use the framework of the Ambivalent Sexism Index developed by Glick and Fiske (1996, 2001, 2005) to examine my interviewees’ encounters with “hostile and benevolent sexism”, and to further expand the parameter of respectable work that Tejaswini Ganti developed in Producing Bollywood (2012). I also examine how the threat to the woman’s body and reputation manifests in the contemporary Indian film industry in post #Metoo India. These examinations help us better understand what compromises women’s entry and tenure in the film industry. Moreover, I discus how scholarship discourses need to change in order to prevent wome’s work from being sidelined in Indian cinema historiography.