Reseñas de usuarios

There are 2 type of untouchables: one no one wants to touch. Second no one can touch them.

Above dialogue aptly shows the indian society structure or we can say the power structure of our country. There is no justice for the poor.

Acting wise , both lead actresses are damn good. I wouldve loved to see them in a web series together.

Plot was good, but the main important point of film is its tone. It no where uses too much of filmy tropes, remains simple, and tries to show more of raw and real scenes from such stories.

After seeing such films i feel, we are sill very behind. Power is still with few people while rest just survive and live somehow. They dont expect anything from police or from government. No one wants them except at the time of elections.

"Santosh," directed by Sandhya Suri, is a film that leaves you uneasy. Not because it delivers groundbreaking revelations, but because of the weight of its narrative in a world ruled by corruption, sexism, and caste inequality. It's a deeply political and painfully human work, anchored by a silent protagonist whose eyes say it all. However, despite its initial impact and technically impeccable execution, the film falls short of delving as deeply as it should into the themes it tackles.

The story follows Santosh Saini, portrayed with restraint and nuance by Shahana Goswami. Widowed at 28, Santosh is forced to make an unthinkable choice: between destitution and a police career in a male-dominated system that despises her very presence. It's a pragmatic decision, but one loaded with emotional heft. The job that should represent security comes at a steep cost, and Goswami plays her with a constant tension, as if she's carrying the weight of the world on her shoulders in every scene.

Suri, as a director, creates a visual universe that's as stunning as it is oppressive. The bustling streets of Mumbai and the dusty alleyways of rural villages act as mirrors for the social disparity the film critiques. The camera doesn't just observe-it accuses, highlighting the glaring contrasts between mansions and slums, the privileges of the powerful, and the vulnerability of the marginalized. It's a visually rich and carefully crafted portrait, finding beauty even in the most devastated spaces.

But where "Santosh" truly shines is in the dynamic between the protagonist and her more seasoned colleague, Geeta Sharma, played with grit by Sunita Rajwar. Geeta is everything Santosh is not: confident, outspoken, feared, and respected. Their relationship feels like a generational clash, with Geeta embodying the strategic conformity of someone who has learned to survive within the system, while Santosh, quiet and watchful, seems to wrestle internally with what she's witnessing. This connection, loaded with subtle tensions, could have been the film's heart. However, Suri stops short of fully exploring this potential, hinting at deeper layers without fully unraveling them.

The biggest issue with "Santosh" is precisely this: the sense that the film is always on the brink of saying something profound but never quite gets there. The choice to keep the protagonist silent might be a critique of the system that stifles her, but it also limits the audience's emotional engagement. The atrocities Santosh witnesses-from the torture of suspects to the blatant manipulation of truth-are shocking, but without a verbalized response, these moments often feel like visceral observations rather than truly impactful reflections.

Another notable aspect is the way the film addresses gender and caste issues. While these themes are present in nearly every scene, they rarely receive the nuance they deserve. The subplot of the murdered girl, which should serve as the narrative thread, ends up taking a backseat to scenes that prioritize atmosphere over narrative depth. It feels like the film wants to say everything at once but struggles to articulate any of it clearly.

Even so, it's impossible to ignore Suri's talent for creating visually arresting scenes. The moral tension that permeates the film is mirrored in the meticulously composed frames, where the clarity of urban landscapes contrasts with the ethical darkness inside the police station. This aesthetic choice creates an interesting duality but feels more like a visual provocation than a fully developed commentary.

What truly saves "Santosh" from drowning in its own ambition is Goswami's performance. Even with few lines, she crafts a complex protagonist-someone who clearly wants to do good but is lost in a system that turns good intentions into liabilities. It's impossible not to empathize with Santosh, even as she remains passive in the face of the injustices around her.

Overall, "Santosh" is a film that provokes but doesn't overwhelm. It makes you think, but it doesn't transform you. Still, it's an important portrayal of a society riddled with contradictions, where women are forced to find strength amid oppression and silence. Suri may not have delivered a perfect film, but she's certainly given us something to chew on-even if, by the end, we're left feeling like we're still hungry.

Santosh (2024) : Movie Review -

Let's take a moment to recall all the best cop films ever made in the Hindi language. Zanjeer, Sarfarosh, Singham, and Article 15-does the list end here? Well, you can add your other favorites too, but believe me when I say this from the depths of my heart: Santosh surpasses all those films. Interestingly, it's a lady cop movie, and most of those films people mention as the best cop movies feature male leads. Another interesting fact is that it is not an outright Bollywood movie but an international co-production involving the United Kingdom, India, Germany, and France. This film addresses corruption and the failures of the police system while also highlighting the severe impact of casteism and Dalit issues. I don't think any Hindi movie has ever been this diverse in the cop-drama genre, making it the best cop film ever made in our language.

Santosh is usually a male name in our society, but it is sometimes used for females too. This film features a leading lady named Santosh (Shahana Goswami), who takes on her late husband's role as a police constable after he is murdered by an unknown group while on duty. According to the rules, the widow gets the job, and Santosh is initially content with her position, only to witness the darker side of police duty. Shortly after trying to adapt to the police system and accepting her first bribe, she is tasked with finding the killer of a teenage girl who has been brutally raped, murdered, and then thrown into a well. She works under Senior Officer Geeta Sharma (Sunita Rajwar), learning all methods of police work, and they manage to capture the perpetrator they have been pursuing. What happens next must remain a surprise, so it stuns you when you watch the film.

Sandhya Suri, as a writer, deserves a huge round of applause for discovering new ideas in the cop drama genre. The Santosh movie not only addresses corruption and the fragmented systems within the police department but also highlights social and sensitive issues like casteism, religious hatred, Dalit issues, honor killings, and human conscience. You might recognize this idea of human conscience from the Hollywood classic "The Oxbow Incident" (1943)-one of the earliest films to explore the conflict between human guilt and conscience, showcasing the relentless torment one can face after committing a crime-or you can find similar themes in Jolly LLB 2 or a few Malayalam classics. Santosh extends that concept, creating a beautiful compilation of multiple hard-hitting themes, knowing that even a single theme can make for a great movie. Now imagine watching 4-5 different themes blended together in a highly artistic film with virtually no flaws. Isn't it just wonderful? Santosh achieved this-it's unbelievable, but Santosh did it! There are at least a dozen scenes that warrant discussion for their artistic references and cinematic nuances, but sadly, I can't spoil them here for your own good. People are typically satisfied nowadays with just one or two aesthetically pleasing scenes in any movie, yet here comes Santosh, which doubles or triples the bonanza! Hats off to the greatest scripts and screenplays ever written in this genre. Sandhya ma'am, I salute you and your brilliant work!

Shahana Goswami has truly demonstrated what acting means to all Hindi actresses. This is the best performance by any actress in 2024, and that too by a wide margin. Goswami alone has outshined the top three performances of the year in Bollywood. Sunita Rajwar is simply OUTSTANDING! I can hardly believe what I just witnessed. Sunita ma'am, what a remarkable actress you are. These Bollywood and TV serial directors have done a tremendous injustice to you and your acting finesse by assigning you mediocre roles over the years. You deserve to work in Hollywood or foreign cinema, given the way you have performed in Santosh. Not a single frame lacked substance from her. Can you believe it? I couldn't, even while witnessing it. Since this is a hard-hitting and very realistic film, the supporting cast needed to be natural, and what fine support they all provided. A big thank you to Sanjay Bishnoi, Kushal Dubey, Nawal Shukla, Pratibha Awasthi, and others, for creating a superb acting unit as a whole.

Santosh is undoubtedly one of the best films of the year, considering the technical aspects. The cinematography and editing both deserve to be nominated in every award show and should most probably win them all. The sound design (Oh, those FM and songs in the background) and the BGM are just fabulous, and the film has great production design despite a low budget. Actually, that was necessary here since the film had to look real, and for that, the real locations and those camera angles helped it become a cinematic classic in technical aspects. Dear Sandhya Suri, where are your feet? I want to touch them, finally quenching my thirst for a CLASSIC HINDI MOVIE after years. Your vision, storytelling, presentation, and understanding of real cinema exceed expectations. You have left me speechless with at least 15 scenes in Santosh, and I don't even remember the last time something like this happened to me after watching around 500 movies in a year. Santosh and those scenes will forever be in my memory whenever I think about any female-led film or a cop movie, and I don't think anything can come close to this masterwork. I usually don't like it when a movie defames our police department for the sake of fictional masala entertainers, but Suri's realistic form of art made me realize how others have failed to understand how to use it in cinema. Santosh is truly a CINEMATIC GEM and MUST be on your MUST-SEE list right this minute.

RATING - 8/10*

By - #samthebestest.

While it's narrative and structure does feel a bit thin, no doubt Sandhya Suri has an ambitious take on the corruption of Indian's police system, the caste system and the political issues surrounding in Indian.

Shot throughly well and provided with good production design, the direction maintains a good sense of atmosphere on approaching the narrative and the characters surrounding the environment. Alongside with a strong performance from Shaman Goswami. As a cop movie, the narrative does offer some interesting aspects but it does weaken as some of the average cliche approaches and the weak character developments don't really hold a very strong grasp.

Since the movie isn't a typical Bollywood story and made internationally, some of the approaches felt a bit too dense and biased that doesn't detract certain serious moments as the filmmaker would have wanted. But still, despite it's flaws, I found myself appreciating the aspects of the movie and it being a solid cop drama.

"There are two kinds of untouchables; those you don't want to touch, and those who can't be touched."

When a police officer is killed, his wife - Santosh - is trained to take his place. It is merely a ceremonial act in a police station in rural Northern India that is overwhelmingly male and traditional. Then a girl is raped, tortured, and her body dumped in a public square. The brazen crime isn't even investigated. Since the girl is from a poor family who can't read, they are ignored. It is then that something inside Santosh is triggered. Her task seems far from impossible, and yet public pressure builds and doors open that she never expected.

"The girl wore jeans and baited him."

The underground of India is revealed in this tense, observant, heart twisting, and powerful film. There is a glimpse of the justice system that prioritizes convictions by any means and ignores the real victims and perps. The film first surfaced at Cannes, and I saw it with director Sandhya Suri at the Toronto International Film Festival. It is all very moving. The film's spectacular imagery stays with me; the earrings of the dead girl, her face in the mirror, a lovely couple together, a girl selling biscuits, and a passing train.

Some films feel like they want to scream at the world. "look at this injustice, look at this broken system!" Santosh is one of those films. And honestly, I get why the censor board was so uncomfortable, it holds a mirror up to power, and that mirror is not cracked, it's crystal clear.

But here's the thing. As someone from this country, someone who reads the news, watches real-life events unfold every day, Santosh didn't feel like a revelation. It didn't offer me something I didn't already know. The caste angle, the abuse of power, the moral rot within the system, all of it felt true, but already known.

And maybe that's the film's biggest problem. When a film is more concerned with checking the boxes of activist storytelling rather than creating a deep personal connection with the viewer, it registers more in your mind than your heart. Jaise kisi ne bol diya ho, "Haan haan, ye bhi dikhana hai," and they showed it, but without making me feel the weight of it.

There's no doubt that it's a well-crafted film in parts, especially with how grounded it tries to stay. But storytelling sirf sach bolne ka kaam nahi hota. Kabhi kabhi, uss sach ko iss tarah se present karna padta hai ki wo dil mein chubh jaaye, ya uska kuch impact ho. Santosh sadly stops short of that.

Matlab I would simply say, it's like watching a headline in motion. Important, yes. Eye-opening for some, maybe. But for many of us living in this reality already, it felt like someone narrating what we already see around us, without giving us a new way to feel about it.

What an honor to be the first to write the review here!

I just saw this movie at the Sarajevo Film Festival, and I was immersed in it from the 1st moment. It's huge - bravo Sandhya Suri, bravo all the cast! What a realistic and technically flawless movie.

Very complex system (and the situation of misogyny) in India is neither easy to understand nor describe - Sandhya Suri did it very well. She couldn't let go the shocking events and painfully nonsensical injustices felt very deeply and obviously researched thoroughly - and she managed to portray it all here!

Thank you for this movie, on behalf of all the oppressed.

Big love and respect!

The film was more like a documentary type. As watching from the beginning I felt it somewhat similar to ayushman khurana movie article 15. The film basically deals with casteism prevailed in India, the poor village conditions, police department attitude towards the people and all. The film as a whole doesn't contain any bgm or elevation scenes. It depicts how a raw investigation is done. At the end it gives us the reality that we cannot change the social evils present in our society. We should accept the reality. We won't get that hope that was given in the 'Article 15' movie from this movie santhosh. The performance of all actors were good.

Sandhya Suri's Santosh is not just a film-it's an experience. A searing, meticulously crafted drama, it explores power, gender, and caste violence with a rare blend of nuance and intensity. This is award-worthy cinema, driven by razor-sharp storytelling and top-tier performances.

The film follows a woman who, after her husband's death, is appointed as a police constable. What follows is an unflinching look at the systemic casual sexism within the force and the grim realities of caste-based violence. Suri's direction is exceptional, layering the narrative with biting satire and small but powerful details that add authenticity. Every frame serves a purpose, every moment feels earned.

I know for the fact that no one will appreciate this type of cinema in india, there are only a handful of films that has manage to blend social commentary with gripping storytelling as effectively as Santosh.

This is a cinematic art that should be praised.

I will go with 9/10 for this one.

In a society often clouded (and dictated) by biases and regression, genuine justice rarely shines through.

Instead, a fragile and contrived notion of 'righteousness' consistently takes center stage, overshadowing what is truly right.

I appreciate how "Santosh" reveals the harsh realities of our flawed governance, which is shackled by outdated doctrines and a glaring lack of social consciousness.

Moreover, I liked the portrayal of investigative processes, depicted in a much grounded and realistic manner that reflects how most cases are actually handled in real life.

However, I expected more from the dramatic elements, especially considering the talented ensemble, feels like Shahana and Sunita were not given the opportunity to fully showcase their latent talents.

Santosh is a cinematic masterpiece that transcends genres, leaving an indelible mark on your heart and mind. The film weaves together rich storytelling, compelling characters, and breathtaking visuals in a way that few others can. What sets Santosh apart is its ability to capture the essence of human emotion, from moments of joy to the most painful of experiences, with an authenticity that resonates deeply.

The performances are extraordinary, with the lead actor delivering a powerful, nuanced portrayal that keeps you invested in their journey. Every scene feels intentional, whether it's a quiet moment of reflection or a pivotal turning point. The direction is brilliant, making each frame feel like a work of art, beautifully framed and shot.

The score adds another layer of depth, elevating the emotional impact of the film without ever overpowering the storytelling. From start to finish, Santosh takes you on an unforgettable journey, challenging your perceptions while reminding you of the power of love, sacrifice, and resilience.

With its masterful combination of direction, acting, and an unforgettable narrative, Santosh is a film that will stay with you long after you've seen it. It's the kind of movie that reminds you why cinema is such a powerful medium - to touch hearts, provoke thought, and inspire change.

Rating - 7.2: Overall, a pretty good movie that shows the Indian experience of a woman working in a male-dominated field and the class hierarchy of the country; but it is held back because it feels like this story has already been told before.

Direction - Pretty Good: The direction on a macroscale is pretty good as it helps build the world and the tension/anxiety that the protagonist has to go through as a police officer trying to fight for what is right; the direction on a microscale is pretty good; direction of actors is; storytelling is pretty good as it unwinds the narrative slowly to keep you engaged for what will happen next as the protagonist searches for the truth; they build tension well as it is a key element for keeping the movie engaging to see how the case will be solved

Story - Pretty Good: The concept is interesting as it is about a woman police officer trying to do what is right and search for the truth, but this story feels like it has been told before; the plot structure is standard; the character writing is good for Santosh Saini and Geeta Sharma as both show the different positions of the police force and how corrupt all around them is as they try to do their job, especially considering they work in a male dominated field

Screenplay - Pretty Good: The dialogue is pretty standard, but had some good writing toward the end; the symbolism is decently present toward the end as it tries to make a profound statement about class hierarchy in India; the foreshadowing is good as it helps construct the ending, especially with how the movie plays out in the beginning

Acting - Decent to Pretty Good: Shahana Goswami - Pretty Good (Plays the reserved protagonist well as she commands her own and slowly opens up as the movie goes on and she feels more comfortable in her position as an officer), Sunita Rajwar - Pretty Good (Has command of the screen and is a real towering figure in her profession; she has good chemistry with Goswami), Rest of the cast - Decent (Some of the acting was pretty good, and some of the acting was pretty bad; the latter felt like it was a lot of non-actors)

Score - Decent: Pretty minimal but used well

Cinematography - Decent

Editing - Decent

Sound - Decent

Pacing - Pacing is a bit on the slower side, but not too big of an issue; it could have cut maybe 15 minutes

Climax - The climax is executed well as the movie continuously builds to this tense moment; the filmmaker is able to get across their message about Indian classism

Tone - Tone is similar to other Indian crime dramas

Final Notes - I saw the premiere at the Austin Film Festival.

Recently widowed and facing the loss of her home, the eponymous woman (Shahana Goswami) is offered a chance to take over her late husband's job as a police officer. Having basically inherited his post without any training, her first task is to work with the no-nonsense "Insp. Sharma" (Sunita Rajwar) on an horrific case in which a young girl has been brutally raped and unceremoniously dumped in a fairly lawless area of Northern India. Disgusted by the crime and by the societal attitudes of many of those the investigations touches - who mostly couldn't care less - we alight on a candidate for the crime and what ensues tests not just her mettle as a police officer but her own morals as the methods of interrogation employed by her new boss are not exactly court-ordered. That's the potent thrust of this film for me, and I didn't find that to sit so easily. The atrocity of the crime is symptomatic of cultural attitudes amidst a society where women are little better than chattels to be used and disposed of by men as required. The question of ethics starts to loom large, though, when the suspect is treated with a brutality that asks whether two wrongs make a right. It's a sort of vigilante justice that pays scant, if any, regard for due process and begs huge questions which are addressed quite poignantly at the very denouement of this quite harrowing and thought-provoking drama. The acting itself is all adequate enough but I thought Goswani relied too much on long pauses and silences to convey the sense of conflict faced by her character as the plot developed. She's not helped by the staccato writing that can hit some potent notes at times, but for the most part seems content to let what we are seeing do the work - and that left me feeling a little uneasy about the retributive elements of the drama. There's no doubt that it does provoke a conversation about women's rights in India and about their appalling position within a male-dominated hierarchy, but is throwing the rule of law under the police bus the answer?

A gripping, engaging, and naked depiction of reality of the society, it's casteism and how this thing affects the lives of people... Narration wise, acting wise, technical wise a brilliant movie. A gripping, engaging, and naked depiction of reality of the society, it's casteism and how this thing affects the lives of people... Narration wise, acting wise, technical wise a brilliant movie. A gripping, engaging, and naked depiction of reality of the society, it's casteism and how this thing affects the lives of people... Narration wise, acting wise, technical wise a brilliant movie. A gripping, engaging, and naked depiction of reality of the society, it's casteism and how this thing affects the lives of people... Narration wise, acting wise, technical wise a brilliant movie.

The movie Santosh (2024) presents a story that is well-written and showcases commendable direction. However, despite these merits, it falls short in key areas, leaving the overall experience underwhelming. My experience with the film revealed several strengths and weaknesses worth exploring in detail.

Story and Direction

The foundation of any good film is a compelling story, and Santosh excels in this regard. The narrative is rich and well-structured, bringing attention to relatable themes and complex characters. The director deserves credit for handling the story with care and thoughtfulness, ensuring it flows logically and maintains coherence throughout. The visual storytelling, aided by cinematography, is another strong point, giving the film a polished and professional feel.

Screenplay and Pacing

Where Santosh falters, however, is in its screenplay. The pacing is excruciatingly slow, which undermines the engaging potential of its plot. As the movie unfolds, scenes linger far too long without adding meaningful depth to the story. This sluggish pace leaves the audience waiting for a payoff that never truly arrives. Instead of feeling captivated, I found myself distracted and disengaged.

This issue is compounded by the lack of twists or surprises in the narrative. In today's cinema, a twist or a well-executed climax can leave a lasting impression on viewers, making them think about the movie long after it ends. Unfortunately, Santosh doesn't deliver on this front. The story's conclusion feels predictable and anticlimactic, leaving little to remember or discuss.

Entertainment Value

Ultimately, a movie's primary goal is to entertain its audience, whether through its storytelling, performances, or emotional resonance. Despite its strengths, Santosh feels overly dull. The absence of a gripping climax or any standout moments reduces its entertainment value significantly. While the film is not entirely devoid of merit, it doesn't justify the time spent watching it.

Audience Reception and Ratings

Another aspect that caught my attention is the movie's rating. Santosh has been reviewed by only 10 people, who collectively gave it an average score of 7. This seems puzzling to me, as such a limited number of reviews doesn't provide a reliable measure of the movie's quality. A rating influenced by so few opinions could easily be biased or not reflective of the wider audience's perspective.

This observation is particularly relevant in the case of Santosh, where the limited reviews might give a false impression of the movie's strengths. For a more accurate understanding, a larger and more diverse group of reviewers would be necessary. Until then, relying on these scores seems unwise.

Final Thoughts

In summary, Santosh has its fair share of strengths and weaknesses. The film stands out for its well-crafted story and impressive direction, but its slow pacing and lack of surprises hold it back from being truly memorable. It's a movie that might appeal to those who enjoy thoughtful, slow-burn dramas, but for viewers seeking an engaging and thrilling experience, it may fall short.

While I respect the effort and creativity that went into making Santosh, I can't wholeheartedly recommend it. For me, the film didn't justify the time I invested in watching it, and its critical reception, based on a handful of reviews, doesn't seem to align with its actual quality. If you're curious about Santosh, it might be worth watching with tempered expectations, but for most viewers, there are likely better options available.

A distressing opening sequence sees a young Indian woman, Santosh (Shahana Goswami) widowed. Her husband was a policeman. She's now unwanted property in a society that bestows little value on women. Although she's not thought much of the future, now that seems all more uncertain. Until she's learns of a police policy where she can inherit her husbands job. With little else to her name. The prospect of a wage and a widows pension, she washes the blood from his uniform and gets to work. It's a steep learning curve, but she's used to the well meaning misogyny from people like Inspector Thakur (Nawal Shukla). What she's not ready for is the corruption and prejudice centred around the caste system. When a young girl is murdered, Santosh finds herself under the guidance of the head policewoman, Sharma (Sunita Rajwar), as the pair try to get to the bottom of the case or at least that's what Santosh thinks. Sharma is fierce, knows her place, but knows how to use what power she has. It's an engaging balance of bleak hope, as Santosh navigates an impoverished and secretive community, with her skill and stature growing as she does. It's a thrilling crime drama, but could easily be a documentary shot in a different style. There's a real and raw danger to it as Santosh finds herself drawn deeper in to the work, seeking justice that wasn't given to her husband, but is she prepared for what can pass for justice. I don't watch mush Indian Cinema, but the acting here is fantastic, no more so than with Goswami and Rajwar. They've a lot to convey and they do it well, bringing heart and soul to what's often a powerfully dark visceral story. It doesn't make me want to visit India to be honest, but I do now feel the need to watch more Indian cinema.

Wow, what an amazing movie this is. I love reading through other reviews and seeing what other people thought and I do wonder how many people need things spoon-fed to them. This story certainly doesn't do that and in a similar way to the events that have taken place within the context of the movie, there is a lack of certainty also as to what has actually happened and who has done what and to who but despite that uncertainty, what we do see more than enables us to form opinions and understand the deeper meaning. This incorporates nepotism and prejudice, power and corruption, moral ambiguity and turpitude as well as the well mentioned themes around the caste system and the class dynamics in a deeply divided country.

The performances are terrific and the cinematography places you into the dusty streets and buildings of India. It's an understated production which is perfectly realised and the main criticism I would have is that I found some of the subtitles a bit difficult to read.

The fact that the Indian government banned this movie adds resonance to the phrase used in the movie - there are two sorts of untouchables, those who no one wants to touch and those who cannot be touched. Obviously, this film touched some raw nerves and you really should go see why.

Santosh (2024) is not just a film-it is a visceral journey into the heart of rural India's most entrenched social evils, told through the eyes of a woman who refuses to be silenced. This cinematic gem masterfully blends the intensity of a police procedural with the emotional depth of a social drama, crafting a narrative that is as gripping as it is profound.

At the core of *Santosh* lies the story of Santosh Saini, a recently widowed woman who steps into her late husband's shoes as a police constable, thanks to a government scheme aimed at empowering widows. But this is no ordinary job handover. Santosh's journey is a baptism by fire into a world riddled with caste discrimination, patriarchal oppression, and systemic corruption. The film's plot centers on her investigation into the brutal rape and murder of Devika Pippal, a Dalit teenager whose tragic death exposes the rot beneath the veneer of law and order.

What makes *Santosh* so compelling is its refusal to simplify or sanitize the story. The film delves deep into the murky waters of caste-based injustice and the violent realities of police power in rural India. Santosh's investigation is not just about solving a crime; it becomes a battle against a system designed to protect the powerful and silence the marginalized. Through this lens, the film explores themes of morality, justice, and resilience with unflinching honesty.

Shahana Goswami's portrayal of Santosh is a revelation. She brings to life a character who is at once vulnerable and fiercely determined, embodying the emotional turmoil of a woman navigating grief, societal expectations, and the heavy burden of her new role. Santosh's transformation from a grieving widow to a relentless seeker of justice is portrayed with subtlety and depth, making her journey both believable and inspiring.

Equally compelling is Sunita Rajwar's Inspector Geeta Sharma, who serves as both mentor and foil to Santosh. Geeta's pragmatic, sometimes cynical approach to policing contrasts sharply with Santosh's idealism, creating a dynamic that enriches the narrative. Their interactions highlight the difficult choices women in power must make in a patriarchal system-balancing personal ethics with professional survival.

The supporting cast also deserves applause for their authentic portrayals, from the anguished family members to the morally conflicted police officers. Each character adds texture and nuance, making the world of *Santosh* feel lived-in and real.

Director Ranjan Chandel's vision is both intimate and expansive. The camera work is deliberate, often lingering on small, telling details-the flicker of doubt in Santosh's eyes, the oppressive heat of the rural landscape, the tense silence before a confrontation. These visual choices immerse the viewer in Santosh's world, making the film's emotional beats hit harder.

The pacing is expertly handled, balancing moments of quiet introspection with scenes charged with tension and conflict. The narrative unfolds like a slow-burning fire, building intensity as Santosh digs deeper into the case and the systemic barriers she faces.

The film's sound design and score complement the visuals perfectly, enhancing the mood without overwhelming the story. The ambient sounds of the village, the distant murmurs of unrest, and the haunting music all contribute to an atmosphere that is both immersive and unsettling.

*Santosh* stands out for its fearless exploration of caste dynamics, gender discrimination, and police brutality. It challenges the typical Bollywood cop drama by stripping away glamor and heroism, presenting instead a raw and realistic portrayal of the challenges faced by those who seek justice in a deeply flawed system.

The film's critique of custodial torture, cover-ups, and the complicity of law enforcement is both timely and necessary. It forces the audience to confront uncomfortable truths about power and privilege, making *Santosh* not just a story, but a call to awareness and empathy.

At the same time, the film celebrates resilience-the quiet strength of a woman who refuses to back down, the solidarity among marginalized communities, and the possibility of change even in the darkest circumstances.

*Santosh* (2024) is a cinematic triumph that lingers in the mind and heart long after viewing. It is a film that challenges, moves, and inspires, offering no easy answers but demanding deep reflection. Through its powerful storytelling, unforgettable characters, and unflinching social critique, *Santosh* elevates the genre of police drama into something profoundly human and urgent.

For anyone interested in cinema that combines artistry with activism, *Santosh* is an essential watch-a reminder of the power of film to illuminate injustice and celebrate courage in the face of overwhelming odds.

I hope this expanded, creative review captures the essence of *Santosh* (2024) in a way that is both engaging and insightful! If you want, I can also help craft versions tailored for social media, blogs, or formal publications.

Just when you think that you have seen the seedy underbelly of crime and police procedural, courtesy shows such as _Paatal Lok, Black Warrant_ etc, comes along _Santosh_ to shatter your presumptions and to make you feel proud, by its end, that such stories are being told.

The fissures of caste, religion, gender are all laid threadbare for you to see and to be repulsed by and amazed at.

Shahana Goswami, who plays the titular role, does a phenomenal job of being as taken aback by the gritty realities of the real world as you would be, as the viewer. As a newbee cop, who has gotten the job as the result of bereavement policy, her eyes shriek in judgement.

However, Sunita Rajwar, as the seasoned cop, steals the show. She gives an Oscar worthy performance for the ages.

This will make you uncomfortable at times, like all great art, which imitates life.

The best Hindi film that I have seen in at least an year.

Did they choose cardboard boxes instead of actors to eke out the characters? Because atleast the first thirty minutes had as much emotion in them as a sock puppet has.

Just re-imaging your film around some sensitive events doesn't make it great. It's neither gritty nor feminist nor realistic. All it is is bland. More boring than watching paint dry.

In fact, if anything, this film reminds me of Birth of a Nation. Not in terms of visual storytelling. That was a cinematic triumph atleast. But in terms of obsession.

Just like that film glorified all the wrong parts, even for it's time, and portrayed some humans as less than another, this too plays into that cliche. Films were used as subtle propaganda and this, I feel, is another to showcase India as a barbaric land stuck in the past.

It's no wonder that Britons are stuck in a romantic notion for their so called glory days of the empire and India was the pinnacle of their achievement. So, films that showcase a modern India which can't manage itself, which lacks a justice system, will obviously have a resonance with certain parts of the British audience.

To heap furthur irony, it's funded by BBC films which and I quote Jimmy McGovern "one of the most racist institutions in England".

Initially, I thought it was just a bad film, now I believe it's a "bad propagandist film"

Santosh common translation "Satisfaction" is a movie clearly justifies its name as it's made for the satisfaction of supremest white colonisers who still see Bharat from their biased lens where Bharat is still poor uncivilised as their ideological ancestors left it as India after looting & breaking it to the core. And of course for the propagandist leftist suffering from inferiority complex who enjoy portraying the worst possible farce when it comes to Bharat, it becomes the golden opportunity.

Shouldn't Britishers be making a movie on social issues that are impacting them like how about Grooming Gangs, slowing economy, multiple Islamic areas with Sharia law with the country with no go zone for Cops & officials as well. Guess it will be in Santosh 2, Hope next one is not this boring with outdated context.

But Oscars! Really! I can name a few better movies that should have got listing instead.