New Marathi cinema has witnessed a remarkable moment recently when Sairat (The Wild, Manjule, 2016) broke box-office records, with collections touching the 100 Cr. (INR, one Billion). Sairat and Fandry (Pig, Manjule, 2014) are films that present narratives cantered on caste marginalization in rural Maharashtra. In depicting the realities of marginal existence Manjule has mobilized the industrial tendencies of mainstream filmmaking, thus opening up the films for a wider public circulation, and the consequent social discourses arising from it. The route to this, however, is through the evocative portrayal of marginal subjectivities that has largely remained stereotypical in the history of Marathi cinema. This article argues that marginal narratives and subjectivity in Sairat and Fandry are a reification of serious themes that, in the context of multiplex-centric, neo-liberal film culture, seem to posit moments of resistance. The article deliberates with two questions that the films have thrown up: first is the notion of marginal subjectivities. The subjective experience of being socially marginal, which gets highlighted through the story of the lead characters, is of significance here. The narrative articulation of the marginal experience is identified by reading of certain poignant moments in the films. Second, the extratextual, public discourses and events after the films were released are situated to highlight how Fandry and Sairat emerge from a certain social entanglement, and are in turn instrumental in affirming their own commoditized versions. The interviews of the director, various reality-TV events and some indicative discourses on the social media are discussed to consider how the cinema becomes relevant as the site for a critique of the Marathi social realm. [ABSTRACT FROM AUTHOR]