Bheed' Movie Review

Directed by Anubhav Sinha, Bheed stars Rajkummar Rao, Bhumi Pednekar, Dia Mirza, Ashutosh Rana, Pankaj Kapur and Kritika Kamra.

Bheed is not an easy film to watch and it does not shy away from showing the gut-wrenching reality of lockdown. It is a hard-hitting tale of the sufferings of migrant workers and it needs to be told. Bheed also sometimes shifts its focus from lockdown to caste discrimination and it does not add any depth to the storyline. Whereas, on the other side, we see the rich and powerful trying to bribe the police to pass the barricade. Bheed focuses on several characters including migrant workers, police, doctors, the upper class and politician and how they are stuck in the middle of nowhere during the lockdown. Starring Rajkummar Rao in the lead role, Bheed narrates the story of different characters and their sufferings when the lockdown was first announced during COVID-19.

The Bollywood movie 'Bheed,' shot in black and white by director Anubhav Sinha, stars Rajkummar Rao, Bhumi Pednekar, Pankaj Kapur and more, highlighting the ...

In a rather interesting scene involving Tikas and Sharma, Bheed shows how much that can impact even the most intimate relations, though, ultimately, the film is not able to communicate its larger point very clearly. Posts on social media promise that the government is in a huddle and discussing what relief can be extended to the millions who are trying to get home. After a somewhat jarring thriller type of twist, Bheed ends exactly as every man-made tragedy ends in India: With a hat-tip to the resilience of the poor. Also stuck at the border is a bus full of Muslims, a man related to an important, local politician and a woman (Dia Mirza) in an SUV, with her driver Kanaiya (Sushil Pandey) at the steering wheel. He has shot Bheed in black and white, which gives the film an artsy touch. There’s a point and purpose to this. Bheed focuses a lot on caste and caste-conflict. In this one, mass exodus and state brutality featured as if it were a result of a natural calamity, with the focus on how people behaved on-ground and not on how a decision taken at the top had a chilling effect. The police chowki on a kachha road seems to be set in some dusty dystopia. So there are announcements to wear masks, keep social distancing, and some basic testing of those with symptoms. The context was real and the harrowing scenes were part of India’s collective nightmare. The orders are simple: No one is to be allowed in.

With Bheed, Sinha touches upon the psychological trauma of caste discrimination.

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It is a deeply personal film that reflects Sinha's anguish and pain; it is as if the filmmaker has laid bare his bleeding heart.

But the cut version of the movie finds the restraint, and hence the poignancy, the subject deserves. There is misinformation doled out on WhatsApp, there is fear of the unknown, and there is desperation. It is also a commentary on the growing class, power, caste, and religion-based discrimination in modern India. Like Article 15, Sinha highlights the caste divide prevalent even in modern India but here the gaze is not of the upper caste man of privilege. Then there is the man he reports to, Circle Officer Subhash Yadav (Ashutosh Rana), and Ram Singh (Aditya Shrivastava), a man of a higher caste who is now made to report to him. And it sets the tone for what is to unfold in the next 114 minutes.

In his 2.0 journey as a filmmaker, Anubhav Sinha has been unabashedly political, and I think, barring Anek, in every other film, the story had creative ...

Designed as a cinematic documentation of all the miseries faced by the migrants during the initial days of lockdown, Bheed achieves more than that by using the various characters it created in its short run time. What was great about Bheed was the prominence of a good story that talks about the caste-based political reality of our country. The character played by Diya Mirza is an example of a majority who is totally ignorant about the existence of a mass population whose future is highly uncertain. But the uncertainty of that relationship’s future has a connection with the film’s politics. The movie talks about the mass migration that happened in our country when the government declared lockdown without a second thought. In his 2.0 journey as a filmmaker, Anubhav Sinha has been unabashedly political, and I think, barring Anek, in every other film, the story had creative dominance over politics.