Analyzing the changing trends of Indian female icons in Bollywood films in diaspora, this study conducts a qualitative analysis of the three significant movies: Kabhi Khushi Kabhie Gham (2001), Kal Ho Naa Ho (2003), and English Vinglish (2012). For this purpose, it has referenced postcolonial feminism, cultural hybridity concepts put forward by Bhabha, and Hall's encoding/decoding model to reflect how women are able to define their identity within transnational relations. Analysis suggests three clear themes dominate all these films-there's this balance of traditional and modern aspects, this hybridity and negotiations of space and culture, especially in diaspora. There is this development or transition in terms of gender and women's portrayal on screen that resonates in many ways, mainly with a narrative of how empowered women in modern society may also be as gendered subjects. Early films such as Kabhi Khushi Kabhie Gham place women largely in cultural custodianship and domestic roles within the family, while later works, such as English Vinglish, focus more on individual agency, self-discovery, and empowerment outside the home. Such change is a part of an even larger cultural transformation in diasporic as well as Indian societies regarding the nature of gender roles and the extent of female autonomy.The study shows how Bollywood diaspora films serve as a powerful cultural artifact that simultaneously reflects and influences societal attitudes toward gender and identity in transnational contexts. This research, therefore, feeds into cultural studies, gender studies, and film studies, especially on the aspects of the critical intersections between tradition, modernity, and the female representation within transnational cinemas. Further avenues of research can include regional cinemas, reception patterns of audiences, or representations in other diasporic contexts.