Ahead of the release of his upcoming film, filmmaker Anubhav Sinha hosted the premiere of his feature film Assi in Lucknow, a city that has become a homeground for his 2.0 version. He had previously made Mulk (2018), Article 15 (2019), Thappad (2020), and Bheed (2023) – all dealing with strong social issues – in the state capital.
Following the Delhi premiere, where a large portion of the film was shot, he showcased the film to Lucknowites. As the lights dimmed, the story, written by Sinha and Gaurav Solanki, gripped the audience, keeping them glued to their seats. This third collaboration with actor Taapsee Pannu shares another common thread with his previous works: courtroom scenes, which emerge as the most impactful moments in the film.
Anubhav has tackled different social issues in his previous films, and this time, he addresses the evil of rape. The film concludes in a manner that allows the audience to sit back for a while and ponder what can be done about it. It does open a debate that, at the very least, we need to talk more about it.
The title had left the audience puzzled initially. Assi refers to the 80 rape cases that are reported in a single day in the country. We have seen Taapsee in similar situations before, but here, the narrative is very different. She is not a victim but is fighting a legal battle for the rape victim. Her character feels for the victim, and the audience feels for them, too.
All We Imagine as Light (2024) and OTT series Maharani actor Kani Kusruti’s power-packed portrayal of the rape victim is a testament to why the filmmaker chose her to essay the most complex role – from a doting mother, teacher, and wife to a shattered rape survivor who wants to fight for her pride.
Casting is very important to the film. Mohammed Zeeshan Ayyub’s silence as the rape victim’s husband speaks volumes. Advik Jaiswal’s work as victim’s son is a masterclass in acting. Revathi is impeccable as the judge, while Kumud Mishra is seen in a very complex character. Jatin Goswami’s character is extremely layered, Satyajit Sharma as lawyer of the rape accused is brutally fantastic, while Manoj Pahwa is convincing as the father of an accused. Cameos by Seema Pahwa, Supriya Pathak, and Naseeruddin Shah are very important and powerful to the film’s storyline. Ranjit Barot’s background score also plays an important role in the film’s narrative.
The film ended with roaring applause from the audience, and soon Taapsee, Kani, Manoj, and Anubhav walked up to hear their feedback. A girl walked up to Taapsee and said, “I am a law student, and I will come back after buying tickets with my friend.”
Lucknow-based actor and theatre director Sandeep Yadav shared, “It’s real, stirring, brutal, and disturbing. Rape is such a heinous crime, and we are doing nothing about it. Hope it triggers a debate.”
Author Chandrashekhar Varma added, “It’s a very important film and subject. The film’s writers have intelligently incorporated references to literary giants and their poems into the script. Uday Prakash’s poem Marna stands out – Aadmi marne ke baad kuch nahi bolta. Aadmi marne ke baad kuch nahi sochta. Kuch nahi bolne aur kuch nahi sochne se aadmi mar jaata hai.”
Taapsee urged people to spread the word “if they really appreciated the film and the issue that has been taken up.” She said, “It’s possible to make films on such subjects only if the audience comes to the theatre to watch the film. If you want to see us more in such social issue-based films, then spread the word.”
Kani talked about the challenges of playing the rape victim and feeling the pain that one goes through. Sinha concluded, “We have done our bit with full honesty, now it’s up to the audience to take it forward.”
