Three of the films - All We Imagine as Light, Girls Will Be Girls and Santosh - share one more common trait: they are cross-country co-productions.
Goswami agrees that this could this be a formula for the future.
"With a French producer, for example, a film gains the opportunity to be seen by a French audience who may follow that producer or the broader film industry. This is how it becomes more globally accessible and relevant," she says.
Even in Bollywood, some women-led films have had huge success this year. Stree 2, a horror-comedy about a mysterious woman battling a monster who abducts free-thinking women, was the year's second-biggest hit, playing in cinemas for months.
On streaming platforms, Sanjay Leela Bhansali's opulent Netflix series Heeramandi: The Diamond Bazaar, an exploration of the misogyny and exploitation in the lives of courtesans in pre-independent India, was among Google's top-searched TV shows of the year.
Their success seems to signal a growing appetite for such stories, their broad appeal demonstrating that mainstream cinema can address important themes without sacrificing entertainment value.
Despite systemic challenges, 2024 has highlighted the global power of female voices from India and the demand for diverse stories. The momentum could be crucial for the Indian film industry in getting wider distribution for its independent films and pave the way for a more diverse and equitable film landscape.