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Bheed Movie Review : A brave portrayal of the plight of migrant workers during lockdown

Times Of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

Bheed - Official Teaser

Bheed - Official Hindi Trailer

Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Bhargavi Murali 9331 309 days ago

Must watch for people living in illusion.

Shamili Vimal 4154 311 days ago

Vinod kumar singh gautam 67 321 days ago.

Good effort to sketch out the cruel and forgotten story of the migrant workers. The man made catastrophe led the whole nation bleeding......

Shyam Gupta 51 387 days ago

कुछ फिल्में और ऐसी बननी चाहिए, 2024 से पहले । मजदूरों की दुर्दशा पर सरकार का रूखापन लोग भूल गए हैं , चुनावी रैली में हजारों बस ट्रेन चलाने वाले ये बेईमान नेता मजदूरों के लिए कोई इंतजाम नही कर पाए ? विश्वगुरु बन कर भी क्या करोगे ? Up बिहार के मजदूरों की दुर्दशा खुद वही मजदूर भूल गए हैं ।ऐसी फिल्में याद दिलाती रहेंगी।

Jai 29444 387 days ago

Its a propaganda movie showing one side of the story. It doesn't show how Delhi govt drove out migrants overnight or why was the lockdown necessary.

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Bheed review – lockdown thriller cuts across India’s class conflict

A tense, state-of-the-nation drama set in Covid-era India successfully exposes how the caste system underpins much of the country’s division and strife

‘N o one ever plans for the poor,” says a young police officer in this tense, painful pandemic drama from India . Shot in black and white, it’s set at the start of the government-imposed lockdown in May 2020 that led to the exodus of 10 million migrant workers from India’s cities. The police officer has been put in charge of a rural roadblock to stop poor workers returning to their families and villages – preventing the spread of the virus. But realising that no help is arriving, the crowd, feeling hungry and abandoned, get angry. The results are explosive, exposing the fault lines of caste prejudice and class conflict.

The officer Surya (Rajkummar Rao), is himself from a lower-caste family, but he’s climbing the ladder; he is a competent, decent cop who refuses kickbacks or bribes (just what a modern police force needs). Still, his boss never lets him forget his place, and we see how Surya has internalised prejudice too. All of society turns up at his checkpoint. A rich upper-caste woman (Dia Mirza) waltzes over accompanied by her driver, fully expecting to sail through. A young woman who worked as a maid in the city risks her life to get her alcoholic father home to their village. There’s an elderly security guard travelling on a bus; then a film crew arrives from a TV news channel.

Taking a scalpel to the caste system, director Anubhav Sinha exposes how sub-castes and other divisions stamp out solidarity. Everyone at this checkpoint is blaming each other. A Hindu man rants at a Muslim man, accusing Muslims of spreading the virus. The situation is like a petrol spill – waiting for a match to be lit. Though when it happens, disappointingly, after so much complex, tough drama, it goes off with more of a fizzle than a bang.

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Bheed Reviews

Powered by persuasive performances by Rajkummar Rao, Pankaj Kapur, and Aditya Srivastava, the film addresses the spectre of caste and class divide in the times of COVID-19.

Full Review | Jan 2, 2024

Bheed (written by Sinha, Saumya Tiwari and Sonali Jain) never comes across as surface level representation. Part of the reason being the film is telling a story we are acquainted with if not conversant with the details.

Full Review | Jul 20, 2023

Anubhav Sinha’s black-and-white film exposes social injustice with pieces arranged for a big bang, only to splutter and subside, but not before raising some uncomfortable questions.

Full Review | Jun 1, 2023

Furious but compassionate, bleak yet not entirely without hope, Bheed is a movie defined by duality — of its characters, its themes, and even its politics.

Full Review | May 28, 2023

Bheed offers a realistic and sometimes alarming look at how social class structures and prejudices can affect people in a crisis. It's a rare COVID-19 pandemic drama that isn't crassly exploitative of this deadly pandemic.

Full Review | Apr 5, 2023

Bheed equally suffers from its hesitancy to follow through on its convictions...

Full Review | Mar 24, 2023

Most of the cast is excellent, even if the shot-taking descends into arthouse every-frame-a-painting territory. At least the film commits to its crowded ideas.

There’s a lesson for everyone in the film. The first and foremost lesson being how deeply ingrained the caste divide is.

Full Review | Original Score: 4/5 | Mar 24, 2023

What Bheed might lack in depth and nuance, it makes up for with an underlying sense of urgency.

Bheed states the facts as is and doesn’t try to lace them with them anything fancy or unreal. A few cinematic liberties definitely would have been taken and understandably so, but never to an extent that it completely washes out the truth.

Anubhav Sinha, in his cinematic portrayal of a certain phase of the pandemic, comes really close to the real-life trauma faced by thousands...

Full Review | Original Score: 3.5/5 | Mar 24, 2023

With the context missing, this well-intentioned film becomes less than its powerful moving parts.

Full Review | Original Score: 2.5/5 | Mar 24, 2023

The actors merge with the film's physical space to absolute perfection and achieve phenomenal emotional depth.

While Bheed is well-intentioned, it feels hurriedly written.

Anubhav Sinha has earned a reputation for questioning the establishment...at a time when it has become dangerous to do so... Cinematically, (Bheed) shines only sporadically, but as a mark of defiance against a repressive regime, it is remarkable.

Full Review | Original Score: 2.75/5 | Mar 24, 2023

Taking a scalpel to the caste system, director Anubhav Sinha exposes how sub-castes and other divisions stamp out solidarity.

Full Review | Original Score: 3/5 | Mar 23, 2023

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Anubhav Sinha, in his cinematic portrayal of a certain phase of the pandemic, comes really close to the real-life trauma faced by thousands.

Bheed Movie Review: A brave portrayal of the plight of migrant workers during lockdown

Times of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

Bheed - Official Teaser

Bheed - Official Hindi Trailer

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Bhargavi Murali 9331 309 days ago

Must watch for people living in illusion.

Shamili Vimal 4154 311 days ago

Vinod kumar singh gautam 67 321 days ago.

Good effort to sketch out the cruel and forgotten story of the migrant workers. The man made catastrophe led the whole nation bleeding......

Shyam Gupta 51 387 days ago

Jai 29444 387 days ago

Its a propaganda movie showing one side of the story. It doesn't show how Delhi govt drove out migrants overnight or why was the lockdown necessary.

Dia Mirza is a vision to behold in a beige saree embellished with intricate embroidery

Mom-to-be Smriti Khanna’s glowing pictures

Things students can learn from IAS 2023 toppers

Sanya Malhotra excels in modern sarees

In pics: Silambarasan's stunning fashion game

From Kamal Haasan to Aamir Khan: Bollywood actors who nailed female roles on screen

Alluring looks of Swathi Sharma

Karishma Tanna is a true fashionista redefining style at every turn

Rashmika Mandanna Steals the Fashion Trend in Sleek Black Outfits

Bedtime Drink: 10 superb benefits of drinking nutmeg milk before sleep

Entertainment /
Movie Reviews /
This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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‘Bheed’: Review

By Namrata Joshi 2023-03-24T12:02:00+00:00

Anubhav Sinha’s black-and-white drama takes an unflinching look at India’s Covid-19 migration crisis

Source: Benaras Media Works

Director: Anubhav Sinha. India. 2023. 114minutes

There’s no denying the fact that Anubhav Sinha has been audacious in choosing to make a film on the critical issue of enforced mass migration of India’s working class—from big city workplaces back to their home towns and villages—during the first wave of Covid-19 in 2020. The sudden imposition of lockdown and border closures, ostensibly to contain the spread of virus, economic cutbacks, lack of jobs and wages and administrative apathy, had made it impossible for people to survive in the urban jungles; a horrifying reality worth documenting many times over in cinema.

What Bheed might lack in depth and nuance, it makes up for with an underlying sense of urgency

Controversy erupted online in the wake of Bheed ’s first trailer, in which Sinha compared India’s class, caste and religious divides of Covid-19 with the Partition of 1947. Dialogue cuts imposed by the country’s Central Board of Film Certification — including the removal of a voiceover by Prime Minister Narendra Modi announcing the lockdown — have diluted those comparisons, and resulted in some obviously jagged storytelling which can only provoke sympathy for Sinha over the loss of his original vision. Yet it remains to be seen whether even this truncated version may still be too discomforting for some viewers. The film’s performance won’t just determine Bollywood’s financial muscle but will also be a measure of the nation’s collective memory of its own recent past.

Bheed – a Hindi word which translates to ‘crowd’ – is poised, a tad lumberingly, between the real and the fictional. On one hand it recreates some real-life incidents, straight from the news headlines, with very little creative imagination, ingenuity or nuance but a distinct sense of emotional manipulation. Such moments include the tragic deaths of tired workers sleeping by the railway tracks, while others are fumigated en masse against the virus near the state borders.

On the other hand, there is a focus on a group of fictionalised characters and multiple narrative strands—not all of them evenly handled—that collide at a police checkpoint. The theme unifying all these subplots is that of the endemic social fault-lines, the multi-hued differences and divisions captured ironically through a black and white palette.

A group of Hindu security guards and their families, led by Trivedi (Pankaj Kapur), is suspicious of the Muslims, thinking of them as Covid super-spreaders. A well-heeled lady (Dia Mirza) in her fancy car jokes heartlessly about the presumed immunity of the poor. A bunch of cops, in charge of the post, are seemingly empowered by their uniforms, but still battling caste-based prejudices in their own lives. A young idealistic journalist Vidhi Prabhakar (Kritika Kamra) and her cynical photographer colleague (Karan Pandit) argue about the state of the nation while documenting the ongoing human exodus.

The subplot involving the policemen captures the most attention, more so because of the persuasive ensemble of actors including Ashutosh Rana and Aditya Srivastav. Rajkummar Rao is particularly riveting as young cop Surya Kumar Singh who hides his surname and identity and is fighting the demons of the caste system — not just in the world outside but the anxieties entrenched deep within himself while trying to find poise and equanimity in his relationship with upper caste doctor Renu Sharma (Bhumi Pednekar).

The film might kick off with a focus on the migrant workers, but their plight is better grounded in the background song ‘Hirail Ba’ than the film itself. The administrative apathy towards the dispossessed may not be openly critiqued, but is a perennial silent backdrop against which the action unfolds. In fact, the very absence of any form of State help becomes an unwitting comment, especially in ironic juxtaposition against a righteous remark about ‘Incredible India’. What Bheed might lack in depth and nuance, it makes up for with an underlying sense of urgency and a righteous call for overhauling the justice system by handing it over to the poor and the powerless.

Production company: Benaras Media Works

International distribution: Reliance Media, [email protected]

Producer: Anubhav Sinha

Screenplay: Anubhav Sinha, Saumya Tiwari, Sonali Jain

Cinematography: Soumik Mukherjee

Editor: Atanu Mukherjee

Production Design: Nikhil Kovale

Music: Anurag Saikia

Main cast: Rajkummar Rao, Bhumi Pednekar, Ashutosh Rana, Pankaj Kapur, Aditya Srivastav, Kritika Kamra, Dia Mirza, Sushil Pandey

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Bheed (2023)

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Bheed Review: Rajkummar Rao And Pankaj Kapur Deliver Outstanding Performances

Bheed review: the other cast members - notably ashutosh rana, bhumi pednekar, dia mirza and aditya srivastava - are no less effective..

Rajkummar Rao in a still from Bheed . (courtesy: YouTube )

Cast : Rajkummar Rao, Bhumi Pednekar, Dia Mirza, Ashutosh Rana, Pankaj Kapur and Kritika Kamra

Director: Anubhav Sinha

Rating : Four stars (out of 5)

In Bheed , out in the theatres three years to the day after the first nationwide Covid-19 lockdown was announced, writer-director-producer Anubhav Sinha quotes Bob Marley and the Wailers' Buffalo Soldier to stress the importance of knowing "your history" and being conscious of "where you coming from".

In presenting a fictional account of the impact of the pandemic - and (especially) of the total nationwide lockdown - on migrant workers and daily wage earners left to fend for themselves, Bheed , filmed entirely in black and white, does indeed point to where we have come from and where we are headed as a nation riven by disparities.

The film expresses the agony of the voiceless and exudes compassion and empathy for people condemned to languish on the margins of a society that does not care enough. It uses the fallout of a sudden lockdown to ruminate on the privileges we take for granted and the inequities we choose to ignore.

The gutsy, multi-pronged narrative, peppered with allusions to the idea of India, with its strengths and failings, lays bare the fractures and fissures that undermine the essence of a diverse and complex nation enervated by deep schisms.

Bheed opens with a harrowing sequence of exhausted, faceless people - it isn't a crowd, only a small group - walking along a rail track. As they lie down to rest, the shrill wail of a train whistle pierces the silence of the night. The sound soon merges with the wails of humans, a disquieting pointer to what is to come.

Anurag Saikia's music score, which later uses the high-pitched sound of a shehnai - it resembles an unsettling howl - that turns a lovemaking scene involving an unmarried inter-case couple into an evocation of the unease of nervous defiance rather than into an avowal of all-conquering passion.

Bheed is a testament to a time when the nation's underclass was thrown into the deep end without so much as a bare-minimum contingency plan. The sorry spectacle that played out in our cities and on our highways exposed our collective indifference to people exploited, marginalised and conditioned to accept their precarious plight.

The film is a vivid chronicle of many divides - between the government and the governed, the law and the common man, the rich and the poor, the privileged and the downtrodden, the sensitive and the callous - that are aggravated no end when the nation is hit by a crisis of the magnitude of a pandemic.

Bheed is a hard-hitting film that, in addition to being an act of courage, is an urgent plea to the privileged to shed their habitual complacency. It shows how a calamity can batter a society where marginalisation of the weak and othering of minorities are the norm.

The screenplay, written by Anubhav Sinha, Saumya Tiwari and Sonali Jain, lays bare the fault lines in a stark, austere manner. The acuity of the visuals is accentuated by Soumik Mukherjee's restive but unobtrusive camerawork and Atanu Mukherjee's editing rhythms, diluted somewhat by censor board-imposed excisions.

Notwithstanding the deletions, Bheed makes its point forcefully enough. Not that a film can change the way a nation thinks, but Bheed does a commendable job of telling a story - in fact, a bunch of stories - that simply needed to be told.

Parts of Bheed may feel a touch simplistic because it inevitably has to interpret complex issues in basic and instantly tangible terms, but not for a moment does the film about desperate people scrambling to return to their villages as state borders are sealed and the police are ordered to stop them appear anything less than pertinent.

With the aid of a terrific ensemble cast that is in perfect sync with the purpose of the film, Sinha crafts a portrait of a world where the poor and the powerless, irrespective of their caste identities, are left to fend for themselves.

Caste and power structures are jumbled up with intent to pit a Brahmin watchman against a Dalit policeman. The former, a village priest's son, is watchman Balram Trivedi (Pankaj Kapur). He is divested of his social capital.

The cop, a low-caste cop with an altered family name that conceals his identity, is Surya Kumar Singh. He is charged with imposing the will of the state on the men (and their families) who have hit the road without a clue about where it might lead.

Bheed is a follow-up to Sinha's Mulk and Article 15 in both thematic and creative terms. Like Mulk , it touches upon the subject of Islamophobia via a reference to the calumny heaped upon the Tablighi Jamaat during the pandemic. A group of Muslim men led by a bearded old man faces humiliation when he distributes food packets among stranded and starving migrants.

In the manner of Article 15 , it captures the repercussions of caste violence on the defenceless through the back story of the male lead, who has personally suffered atrocities. And like both the films, Bheed falls back on multiple stories drawn from news reportage to weave its narrative.

A deserted shopping mall, fittingly named Lotus Oasis, serves as a metaphor for a bubble that becomes the site of a final impasse between the police and a man who decides to take the law into his hands in his fight to ward off hunger.

It is around this mall that almost the entire film plays out. The police hurriedly place barricades on the road outside the edifice - it is totally out of sync with the environs - and buses and other vehicles are stopped in their tracks. Tensions mount, tempers rise and the animated negotiations that ensue go nowhere.

Circle Officer Subhash Yadav (Ashutosh Rana) makes Surya the in-charge of the police post bypassing a Thakur, Ram Singh (Aditya Shrivastava) - a move whose effects manifest themselves in varied ways. That isn't the only caste fissure that Surya has to negotiate - the girl he loves is Renu Sharma (Bhumi Pednekar), a medical intern sent to the spot with test kits and medicines.

A small-time politician's relative believes that he and his men are above the law and that the barricades are for the less privileged. A lady (Dia Mirza) is desperate to reach her daughter's hostel before her estranged husband can get there.

A young girl (Aditi Subedi), saddled with an alcoholic father (Omkar Das Manikpuri), struggles to find a way out. Amid the pandemonium, a television reporter Vidhi Prabhakar (Kritika Kamra) is hard-pressed to do her job flummoxed as she is at how things are panning out.

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The actors merge with the film's physical space to absolute perfection and achieve phenomenal emotional depth. Rajkummar Rao and Pankaj Kapur deliver outstanding performances that enhance the impact of the film. The other cast members - notably Ashutosh Rana, Bhumi Pednekar, Dia Mirza and Aditya Srivastava - are no less effective.

One character, a cynical photojournalist, says: 'We are a sick society'. Bheed emphasises how that fear may not be baseless. It asserts that it isn't a virus alone that is to blame for what ails us. The malaise runs much deeper. Anubhav Sinha does not shy away from staring the rot in the face. Is there anything more exciting than a filmmaker who stands up to be counted?

Rajkummar Rao, Bhumi Pednekar, Dia Mirza, Ashutosh Rana, Pankaj Kapur and Kritika Kamra

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Bheed movie review: Anubhav Sinha's lockdown tale is a difficult watch that hits you hard

Bheed movie review: rajkummar rao and bhumi pednekar headline anubhav sinha's latest social drama on the exodus of migrant workers during first lockdown..

‘Ghar se nikal kar gaye the, ghar se hi aa rahe hain aur ghar hi jaa rahe hain’. This line in Bheed said by a migrant worker just stayed with me. Narrating the horrific unfolding of events during the unprecedented mass migration amid the first coronavirus lockdown in 2020, Anubhav Sinha’s Bheed is brutally honest. High on shock value, it makes your heart ache seeing the hardships and humiliation that thousands of migrants went through during the pandemic. (Also read: All That Breathes review: This Oscar nominee from India is visually stunning doc on need to co-exist )

Bheed movie review: Rajkummar Rao and Bhumi Pednekar in Bheed.

On March 24, 2020, when a nationwide lockdown was announced and state borders were closed to prevent the outbreak of the coronavirus, several migrants who had shifted to cities in search of work, were forced to go back to their native villages. Bheed is an account of what exactly these migrant families suffered.

Sinha has not only chosen a difficult story to tell but he ensures he makes it an equally difficult watch. Shot in stark black and white, Bheed doesn’t let you breathe. If anything, it chokes you, leaving a lump in your throat at several gut-wrenching scenes. Sinha shows no restrain when it comes to showing the pain and plight of these workers. The shocking visuals of migrants sleeping on the railway tracks and being run over by a train, families walking barefoot for miles with bleeding toenails and wounded soles, hungry kids crying and being thrashed by their helpless mums, a watchman trying to arrange food, people hiding in cement mixers, Muslims feeding their own and everyone around, but still being cornered and called names. Even though Sinha doesn’t resort to blood or gore in the shocking scenes, you still feel the impact of his story. Bheed highlights, and fights more inner demons and societal biases, than only the struggles of migrant workers who walked for days and nights wishing to reach their homes in times of crisis. Some did make it, while others did not.

Bheed talks to us through the story of Surya Kumar Singh Tikas (Rajkummar Rao), a young cop who is made the incharge of the checkpost at one of the state borders that’s now closed. He is in love with Renu Sharma (Bhumi Pednekar) who is a doctor and is currently taking care of symptomatic patients stuck at the check-post. There’s Singh saab (Aditya Shrivastava) who is Rao’s subordinate but clearly doesn’t want to obey orders. Among the migrants on the other side of the barricading, there’s Dia Mirza from the privileged class in her Fortuner, who doesn’t flinch an eyelid when the driver Kanaiya (Sushil Pandey) offers to bribe the cops to let them cross the border. Then, there’s Trivedi Babu (Pankaj Kapur) who only wants to save his ailing brother and help the fellow passengers in the bus get some food from the nearby closed mall. He insists he won’t steal but would pay for it. There’s also a young girl carrying her alcoholic father on a bicycle. Amid all this, Vidhi Tripathi (Kritika Kamra) as a TV journalist is covering all this from angles that she can see, or at times, through her cameraman Nasir Munir’s lens.

At 114 minutes, Bheed neither wastes time building the premise nor its core characters. I must credit the director here for so convincingly introducing each character to us without delving too much into their back stories yet telling enough. The story that Sinha has co-written Saumya Tiwari and Sonali Jain manages to keep you intrigued. It’s the writing, I feel, that’s a true winner. There are dialogues cleverly peppered with an underlined sarcasm that you can’t miss. ‘Hamara nyaay hamari aukaat se bohot bahar hai’ or ‘Gareeb aadmi ke liye kabhi intezaam nahi hota’ are some lines that hit you hard.

There’s a scene with Kritika Kamra draws an analogy with an overloaded straw-truck with that of society and the fear that it may end up getting scattered and turn into a divided crowd, is extremely well-written. Another well shot moment is when Kapur ridicules the healthcare staff dressed in PPE kits and calls them ‘nautanki’ while they are testing his brother for Covid symptoms. These all remind us of how actually millions of people behaved when first wave of Covid hit our shores.

However, some portions did appear excessive. For instance, I didn’t understand the context of ingesting a lovemaking scene between Rao and Pednekar. Yes, it was important to distinctly underline the class divide in their relationship, but there were ample strong scenes later in the film through which the point could be well conveyed. The sex scene was surely avoidable. Then, you sense the constant hammering on the caste bias in our society with Rao’s character being targeted by everyone. That, to me, appeared a bit too much. I wouldn’t say it takes away from the core focus on the pain of migrants, but it does bring a shift of emotions when Rao’s story takes precedence over the main issue. And why weren’t the cops wearing mask? I mean you preach only what you follow.

Story aside, some really nuanced performances additionally make Bheed a great watch. I won’t be exaggerating if I term is as one of the finest ensemble casting in recent times. Rao and Pednekar are in top form with their dialect, body language, confidence and the way they emote on screen. Their strength and vulnerability both touch you. Mirza looked flawless playing a flawed character of a rich woman whose patience is tested in trying times and she lets her circumstances dictate her choice of actions and words. Kapur is exceptional and wins you over with his brilliance in each frame. He displays calm while politely asking cops for an outcome of a political meeting about the opening of borders, and shows aggression when it comes to fighting for his own people. Rana and Shrivastava add gravitas to the narrative with some heavyweight dialogues, and their expressions. Kamra’s track started off as a narrator and had pivotal pieces to join initially, but eventually doesn’t get much scope to shine or leave an impact.

Overall, Bheed states the facts as is and doesn’t try to lace them with them anything fancy or unreal. A few cinematic liberties definitely would have been taken and understandably so, but never to an extent that it completely washes out the truth. Sinha keeps the tussle between the class, power, caste and religion on till the very last minute. And the end credits aptly sum up the migrant crisis and their unforgettable pain with Herail Ba. Watch it if you truly care to know the truth and what happened with those thousand of migrants who were rendered homeless due to the pandemic without any fault of theirs.

Migrant Workers
Anubhav Sinha
Rajkummar Rao

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Bheed Movie Review: Rajkummar Rao's black-and-white film has all the colours of pain

Rajkummar rao's bheed is a lockdown thriller that follows the migrant workers trying to get back to their homes during the covid-19 pandemic. the film hits too close to home and brings back painful memories from covid days, says our review..

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Rajkummar Rao and Bhumi Pednekar in Bheed.

Bheed released in theatres on March 24.
It stars Rajkummar Rao and Bhumi Pednekar in lead roles.
The film is directed by Anubhav Sinha.

Cast & Crew

Anubhav Sinha Bheed

Rajkummar Rao

Release Date: 24 Mar, 2023

When the Covid-19 pandemic first hit India, people panicked, stocked up on ration and locked themselves at home. Some were with family while others were stuck alone in different cities. However, it was the migrant labourers who were left confused and stranded on the roads while trying to get back to their villages. And if there was someone who could translate those raw emotions on screen, it's Anubhav Sinha. In his film, Bheed, that released today, March 24, the filmmaker brilliantly made us recall the painful memories of the pandemic.

The migrants stranded on the roads, a mother's struggle to bring her daughter back from another city, a frontline doctor, a police, a politician, reporters bringing the sufferings of the migrants - Bheed has it all and yet it doesn't feel cramped or dramatic. Shot in black and white, the film is as raw as it can get, making your heart wrench several times.

‘Ghar se nikal kar gaye the, ghar se hi aa rahe hain aur ghar hi jaa rahe hain’. A migrant worker says this line in Bheed and that perfectly sums up the storyline of the film. Shot majorly on one single road, Bheed narrates the horrifying time faced by labourers who had left their villages to earn their livelihood in different cities. However, when the government-imposed Covid-19 lockdown was announced in the country in May 2020, it led to the exodus of about 10 million migrant workers. In Bheed, we have a police officer, played by Rajkummar Rao, who is put in charge of blocking roads to stop people returning to their villages, in a bid to curb the spread of the virus. The labourers are made to wait on the roads and surrounding fields without any food and water. A mother (Dia Mirza) is desperately waiting to cross the UP border to take her daughter back home. A young girl with a sick father on her bicycle finds ways to get back home.

The duty in-charge, Surya's (Rajkumar Rao) character, is written very well. While he tries to follow the law and order to his best, he is also divided by the casteism he faces every time. Bhumi Pednekar plays the role of a doctor and Surya's girlfriend. Even with Rajkummar leading the show, Anubhav manages not to shift the focus from the main issue. Pankaj Kapur belongs to the Pandit community in Bheed, and he plays a pivotal role.

Bheed is brutally honest that it will make your heart ache revisiting the hardships migrants went through during the pandemic. With a difficult story like this to tell, Anubhav Sinha made sure one gets uncomfortable watching it. Unlike mainstream Bollywood cinema, the filmmaker stayed away from the drama but kept the script restrained and tight. Nothing is politicised here, it's all about emotions.

"No one ever plans for the poor," says Rajkummar Rao, exposing the faulty lines of class conflict. Bheed takes a closer look at the social divide and class system in Indian society.

Three cheers to the cinematography team. Bheed shows shocking visuals of migrants sleeping on the railway tracks and being run over by a train, people walking barefoot with their bloody toenails, hungry kids crying and much more. Watch out for the scene where people are caught hiding in cement mixers. Even with no blood, Bheed is gory. Throughout the movie, no time is wasted in building up the story. Dialogues like ‘Hamara nyaay hamari aukaat se bohot bahar hai’ or ‘Gareeb aadmi ke liye kabhi intezaam nahi hota’ will keep you hooked.

There's a scene when Pankaj bashes a doctor wearing a PPE kit while treating his brother. He calls it 'nautanki' and even goes on to say 'sardi khasi hai bas, Covid thodi hai.' This reminds us of the time all of us reacted when Covid first hit India. Anubhav had taken even the smallest of details in mind.

Rajkummar Rao has given a brilliant performance as a police officer. He doesn't hold back and gives his best. Bhumi Pednekar does an equally good job. However, their sex scene didn't make sense and could have been done away with.

Bheed will choke you with tears and will leave a lump in your throat. The film will make you realise how privileged you were during the Covid-19 pandemic times. If you want to know the raw truth about those who were homeless during the Covid days, then Bheed can be your pick.

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Bheed Movie Review: Rajkummar Rao's Engaging Lockdown Thriller That Exposes India’s Class Conflict

Bheed Movie Review: Rajkummar Rao's engaging lockdown thriller that exposes India’s class conflict

Bheed movie review: the lockdown thriller talks about the labourers who had left their village and came to work in another city to earn their livelihood, but the impact of the lockdown alienated them in their own country..

Movie Name: BHEED
Critics Rating: 3 / 5
Release Date: MAR 24, 2023
Director: Anubhav Sinha
Genre: social drama

Bheed Movie Review: No one wishes to remember 2020, but the mentioned year has become an important document in everyone's life. It is not possible to cover the COVID era in a film, but director Anubhav Sinha has exposed some stories and national issues through his film. Labour migration, mother's struggle to bring her daughter living in another city back home in lockdown, a doctor as a frontline worker, police, leader and a reporter who brings the pain of the ongoing sufferings to the public sitting at home.

The story talks about the labourers who had left their village and came to work in another city to earn their livelihood, but the impact of the lockdown alienated them in their own country. Somehow he wanted to go to his village, but due to the closure of the UP border due to the fear of spreading coronavirus, he could not go home and even eat food. Dia Mirza wants to cross the UP border to pick up her daughter who studies in another city but gets stuck there. A girl takes her sick father far away on a bicycle.

In the role of duty in-charge, Surya (Rajkumar Rao) on one hand, along with the law and order of his police, also shows an innate humanity, but somewhere he faces casteism every time. Bhumi Pednekar in the role of a doctor falls in love with the cop Rajkumar Rao but then there is a surprise about caste discrimination. Pankaj Kapoor belongs to the Pandit community, but here Rajkumar Rao, is himself from a lower caste, he’s climbing the ladder; he is competent and refuses kickbacks or bribes.A young woman who worked as a maid in the city risks her life to get her alcoholic father home to their village. Some want to go home, some are going to bring their child and some are covering long distances by taking their ailing father on a bicycle. But when there is no help from the government, people get agitated here and then there is an explosion.

Rajkummar Rao is the police in-charge, Bhumi Pednekar is the doctor and Kritika Kamra is working as a journalist. Pankaj Kapur as the security guard and Ashutosh Rana as the police head, Dia Mirza as the helpless mother. Sushil Pandey's performance as Dia Mirza's driver is commendable. Everyone has given a new meaning to the crowd with their amazing work.

Anubhav Sinha captured all the motion in the crowd which probably touched everyone's life. There are many such scenes that make the eyes moist. Some dialogues touch the heart. The fact that the film is completely black and white is a testimony to the fact that there was no room for any color in people's lives in 2020.

The film was on lockdown, Bajrang Sena opened many issues together, for example, the issue of casteism dominated the film... Most of the time the film's hero was seen laughing in the circle of casteism. Along with this, a reference was also made to the Tablighi Jamaat.

Bhumi Pednekar

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Bheed movie review: A grim and necessary reminder of a recent tragedy

Bheed movie review: it is clear why it was tempting to use the analogy of the partition, which anubhav sinha had to excise from the film. with the context missing, this well-intentioned film becomes less than its powerful moving parts..

One of the most shattering sights of the Covid-19 pandemic was the flood of people suddenly rendered rudderless by the announcement of one of the most stringent lockdowns in the world — chief amongst those were daily wagers, and blue collar workers who would starve if they couldn’t go out to their jobs. With no public transport available, they began the long walk home, some carrying all their worldly goods in plastic sacks, with their children, or the elderly, in tow. That the trek under the relentless summer sun of 2020 was going to be long and arduous didn’t seem to deter the migrants. The refrain was common: if I have to die, I want to be where I belong.

Anubhav Sinha’s ‘Bheed’, shot in greyed-out B&W, is a grim and necessary reminder of this recent tragedy, which already seems like a throwback. It’s clearly a case of pushing back memories of difficult times so they do not overwhelm the present. It’s also got to do with the concerted white-washing that began in right earnest — to take culpability and responsibility away from the state — even while the pandemic was raging. And some of that, being force-fitted into the narrative, seems to have taken the sting out of Sinha’s recreation.

Starting your film with the mandatory ‘poori tarah kaalpnik hai’ (it is completely imaginary) may be a pragmatic necessity, but taking the specificity out by not using names defeats the purpose — in which ‘pradesh’ is ‘Tejpur’ (the place where most the proceedings take place)? The declaration of the pandemic in the PM’s voice is missing (it was in the original trailer, but is replaced by another in the new one) and instantly that moment, which changed the lives of so many of us so drastically, becomes anodyne.

The film begins with a striking shot of humans milling about on screen, desperate to find a way out, piled on top of buses, cycles, anything that moves. You can see why it was tempting to use the analogy of the Partition (which Sinha had to excise from the film; there are a few other bits which feel censored). With the context missing, this well-intentioned, lest-we-forget film becomes less than its powerful moving parts.

In many ways, ‘Bheed’ feels like a companion piece to ‘Article 15’, in which Sinha had raised the scourge of caste effectively, but was called out for doing it through the prism of an upper caste ‘hero’. In this one, he does a course correction by making the lower caste Surya Kumar Singh Tikas (Rajkummar Rao) — who hides his origins under the honorific ‘Singh’ because that’s what his father did — the person who is ‘in-charge’. But how can a man like Tikas, buoyed by his cop uniform but living with a permanent fear of being found out, actually be in charge, surrounded by the Sharmas and Trivedis who fling the hierarchy of their birth in his face? When Rajkummar Rao, in a stand-out performance as Tikas, cries out, ‘hamein bhi hero banana hai’ , it sears.

It is his story which is the most interesting in this ensemble piece, which has a host of characters, all stuck at this barrier created by a lethal virus, and an even more lethal caste system, which overrides class. On one side are the high born, wealthy people like a mother (Dia Mirza) making a dash in her fancy SUV to pick up her daughter from her hostel before her husband gets there; a watchman called Balram Trivedi (Pankaj Kapur) who is so full of bile and bigotry that he will not allow his hungry companions to eat the food served from a Muslim man (the Tablighi Jamaat being virus-spreaders is mentioned: remember how viral WhatsApp forwards and venomous TV anchors spread that rumour?); a TV reporter (Kritika Kamra) and her crew become the voice of the liberal, but misguided urbanites who don’t understand or care to parse the divisions on the ground; Tikas’s superior (Ashutosh Rana) who has great knowledge of minute social divisions ( ‘acchha tum Tikas ho,’ he tells Surya, ‘hum toh Somas samjhe thay’ ), but has little empathy for others not as privileged as him. The trouble with making people ‘types’, representative of their class/caste, is evident in the way they declaim, their self-serving statements coming off as dialogues rather than conversation.

There are some faces in the crowd that the camera stays on more than the others. A girl accompanying her alcoholic father home, emerging from a cement mixer, gets more time than the others. And then you move along, with the ‘bheed’ , as the people are pushed and shoved and showered by dehumanizing canons of disinfectant, their feet bleeding: the sight of that droplet of blood leaves you with that same angry, sick feeling as it did back then, when you saw that image in the newspaper.

What you are left with most vividly is Tikas and his love for a local doctor called Renu Sharma (Bhumi Pednekar), whose surname says it all. I wanted more of these two, and left the theatre wondering what happens to them when they do pick up the courage to go to her village, and confront her father. Will they be left alive, or will age-old prejudice kill them? Rajkummar Rao’s face, so full of the pain and injustice he has been forced to internalise all his life, finally acknowledges and embraces who he is: that face, in the generic ‘bheed’, becomes a despairing yet hopeful beacon for our times.

Bheed movie cast: Ashutosh Rana, Rajkummar Rao, Pankaj Kapur, Bhumi Pednekar, Dia Mirza, Virendra Saxena, Kritika Kamra Bheed movie director: Anubhav Sinha Bheed movie rating: 2.5 stars

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Record at THE STUDIO by Rolling Stone India at Creatorland Mumbai

‘Bheed’ Is an Important, Powerful Film, But It’s Not the One We Were Promised

While the first trailer for the Anubhav Sinha-directed movie about lockdown in India was bold and political, the final cut is robbed of its courage

A poster for the Bollywood movie 'Bheed.'

Bheed (‘Crowd’)

Cast : Rajkummar Rao, Bhumi Pednekar, Pankaj Kapur, Ashutosh Rana, Dia Mirza, Kritika Kamra, Aditya Srivastava, Veerendra Saxena

Direction : Anubhav Sinha

Rating : **1/2

Showing in theaters

When the first trailer of Bheed dropped on social media around March 10th, it created a lot of buzz and disbelief.

It began with a familiar voice — of Prime Minister Narendra Modi on March 24th, 2020 — announcing a complete, 21-day, nationwide lockdown, giving India’s 140 crore citizens four hours’ notice to figure out their lives.

With that one sentence — “ Aaj raat, 12 baje se, poore desh mein sampoorn lockdown hone jaa raha hai ” — millions were rendered homeless, jobless, penniless. Without food, water, money and any assurance or assistance from the government, millions of people across cities and states started walking back to the villages they had come from.

The images that appeared on the screen along with the voiceover were of cops beating migrant workers.

There was something very deliberately bold, powerful and triggering about the trailer. These were not just random images of the overnight loss of a nation’s humanity. Director Abhinav Sinha ring-fenced the human tragedy which unfolded in 2020 by showing what caused it. The context was real and the harrowing scenes were part of India’s collective nightmare.

The trailer shook something inside.

Two friends texted me to say that they wept while watching Bheed ’s trailer, and both wondered whether the film will be allowed to release at all.

Then, the second trailer dropped. And like it is in real life these days, it showed a human tragedy without pinning responsibility.

While the earlier trailer belonged to a film about a very specific calamity triggered by a decision that had not been thought through by the government because it seemed to have no clue about the country they were governing, Bheed ’s new trailer seemed to belong to a different film — one that was about the many general ills of India. 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.

And so it is the case with the film, which released in theaters on Friday after several cuts and a U/A censor certificate.

Anubhav Sinha’s Bheed is not a bad film. It’s a powerful, conscientious film that explores police brutality, class privilege, caste divide, religious mistrust, an apathetic state and its impact on the state machinery and the disempowered.

But it’s a film that has been robbed of its political and constitutional courage. And it’s not the film we were first promised.

Shot in black and white, Bheed is set at the checkpost of a small town called Tejpur and opens 13 days into the lockdown, with several headlines conveying the death, chaos and tragedy unfolding across the country: “16 die as train runs over tired migrants sleeping on tracks.”

In Tejpur, senior officer Yadavji (Ashutosh Rana) puts Surya Kumar Singh Tikas (Rajkummar Rao) in charge of the main police chowki on the border. The orders are simple: No one is to be allowed in.

After spending an evening with his medical-student girlfriend Renu Sharma (Bhumi Pednekar), Tikas, along with his colleague Singh saab (Aditya Srivastava) and others, takes charge.

The police chowki on a kachha road seems to be set in some dusty dystopia. Surrounded by a vast expanse of fields, there’s just a small chai stall nearby, and a mall with its shutters down.

Several people who had set off for their homes begin arriving at the border. There are men, women, children, families in buses, trucks, tempos, cars, on cycles, and many with blistered feet, their chappals and will completely worn out. All are waiting to be allowed to cross the border and go home.

Balram Trivedi (Pankaj Kapur), a security guard who managed to hire a bus, is trying to take his extended family home, including his brother who has a high fever.

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. She is desperately trying to get to her daughter who is stranded at her hostel.

There’s also television reporter Vidhi Tripathi (Kritika Kamra) with cameraman Nasir Munir and a cynical photographer.

The crowd keeps swelling, the long queue of people, buses and cars now extending beyond the horizon.

At the checkpost, the task of the police is asked to just “manage” the situation. So there are announcements to wear masks, keep social distancing, and some basic testing of those with symptoms.

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. But the cops at the chowki haven’t received any fresh orders.

With no place to rest, no access to hospitals, food, water or bathrooms, but reports of Tablighi Jamaat spreading the virus, hostilities rise and desperation begins to turn into rage.

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. Their ability to survive is celebrated, and their suffering is ignored.

This celebration of how quickly people in India move on, get on with their lives, this need to garland “sab changa si” status, means that no one is responsible and no one needs to be held accountable.

To me, this felt like a dissatisfying, wasted opportunity.

But that’s not Anubhav Sinha’s fault. His film has received at least 13 cuts, including the Prime Minister’s voiceover, and the comparison of the migration of migrant workers during lockdown to the 1947 Partition.

Given that, Bheed is an honest account of what happened when state borders were shut and is a brutal snapshot of an apathetic state and its machinery.

These days Anubhav Sinha takes up only difficult, contentious subjects and his style is often B-grade. Everything is loud, rousing, emotional and in-your-face.

He let go of this in his film Thappad , but the rest of his films, especially Mulk and Article 15 , are strong B-grade films. There is immediate power in that approach, but little lasting impact.

He has shot Bheed in black and white, which gives the film an artsy touch. The film has some powerful, moving scenes and poignant lines, and these may stay with you, but the film as a whole won’t stay with you after you’ve left the cinema hall.

Bheed focuses a lot on caste and caste-conflict. It shows how deep religious and caste prejudices run in India, how justice is just another stick of the powerful to beat the powerless with. There’s a point and purpose to this.

Written by Sinha Saumya Tiwari and Sonali Jain, Bheed wants to tell us that most of the men and women rendered homeless overnight were not just migrant workers, but people belonging to “lower” castes.

But the film assigns caste discrimination and the rage against it only to Rajkummar Rao’s character. 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.

But Rao, who carries Bheed on his shoulders, lifts the film with his very fine performance.

Ashutosh Rana is restrained and very good, Aditya Srivastava is quite fabulous, but Pankaj Kapur was a bit disappointing because of the way his role and lines were written.

But a bigger disappointment for me was Bhumi Pednekar, who seems to have settled into a routine where she is a moonh-phat ladki who calls a spade a spade and grabs her desire by the collar. We’ve seen this before, often, and it’s now beginning to flatline.

Bhumi Pednekar
Movie review
Pankaj Kapur
Rajkummar Rao

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Bheed movie review: Filmmaking as an act of defiance

Anubhav Sinha’s account of migrant workers’ en masse return to their villages at the start of the pandemic is a basket of courage and convolutions in the writing of social divisions in the midst of a tragedy.

Cast: Rajkummar Rao, Bhumi Pednekar, Dia Mirza, Sushil Pandey, Aditya Srivastava, Pankaj Kapoor, Kritika Kamra, Ashutosh Rana, Virendra Saxena, Aditi Subedi

Director: Anubhav Sinha

Language: Hindi

Two years back, in 2021, writer-director Vinod Kapri’s documentary 1232 Kms was released online. Set early in the COVID19 pandemic, it followed a group of male migrant workers from Ghaziabad in UP cycling all the way back to their home villages in Bihar following the abrupt declaration of a nationwide lockdown by the Central government in March 2020. The men were openly critical of the administration’s apathy towards them, and 1232 Kms bravely made no bones about who it held accountable. The film began with Prime Minister Narendra Modi’s speech announcing the lockdown. It also described the movement of desperate workers during the pandemic as “the largest human exodus since the Partition of India”.

In 2023, freedom of expression in India has reached a stage where the latter two elements have created a storm in the context of a new project. Writer-director Anubhav Sinha ’s black-and-white fiction feature Bheed (Crowd), also pegged on the migrant workers’ crisis, comes to theatres in the shadow of certain troubling developments: among them, Bheed ’s trailer was released, pulled down and an edited version re-released. Sinha confirmed what the media reported, that the trailer originally featured the PM’s address to the nation and mentioned the Partition. Having seen Bheed , I can confirm that the narrative in its entirety too does not contain either of these.

It is challenging to review a film when you are not sure how much of what you’ve seen is a product of the Censor Board’s scissors and/or fear of the Board. Bheed, in the form that we get to see it, does not make any specific, overt reference to the current government, the governing party or any particular politician. The irony is that this serves to highlight the truth that the very act of making this film, thus addressing mis-governance during the pandemic, is courageous in the present political atmosphere.

Bheed ’s story is by Sinha, with the screenplay and dialogues credited to Sinha, Saumya Tiwari and Sonali Jain. The film is set at the very start of the lockdown when workers had just begun an en masse return to their villages and even the rich were struggling to come to terms with the unprecedented restrictions. In this scenario, we meet Surya Kumar Singh (Rajkummar Rao), an ambitious policeman who belongs to an oppressed caste and is in love with a medical professional called Renu Sharma, played by Bhumi Pednekar. (Surya does not use his caste title – when he reveals it, the reactions he attracts suggest that he is Dalit, although the only reference I could find online to that surname is regarding a real-life person claiming a Scheduled Tribe, not Scheduled Caste i.e. Dalit, certificate.) Renu is Brahmin. Surya’s colleague, Ram Singh (Aditya Srivastava), becomes resentful when their boss, Inspector Yadav (Ashutosh Rana), places the young man in charge of a police post at a state border that has been sealed.

Among the scores of people who arrive at the spot guarded by Surya and his team is a wealthy woman called Geetanjali (Dia Mirza) who is in a hurry to pick up her daughter from her hostel. Geetanjali fears that if her estranged husband gets there first, his early arrival will become a weapon in a bitter custody battle. She is accompanied by her driver Kanhaiya (Sushil Pandey). Also there is a busload of workers and their families, led by Balram Trivedi (Pankaj Kapoor) and Dubey (Virendra Saxena). A bedraggled young woman (Aditi Subedi) is trying to get her drunken father (Omkar Das Manikpuri) home. And a famous TV journalist (Kritika Kamra) zeroes in on this location for her reporting.

Bheed alludes to fake news spreading on social media and WhatsApp during the pandemic. Looming as a constant in the background without being spelt out is government indifference to the plight of the citizenry, especially the poor. The film’s predominant theme is neither though. Bheed ’s focus is social division rearing its head even in the midst of an unfolding tragedy, in particular, upper-caste prejudice, upper-class selfishness and religious bigotry.

The handling of casteism and religious sectarianism in the script yields mixed results. For instance, Trivedi’s sense of caste superiority and his Islamophobia triggered by propaganda against the Tablighi Jamaat are both established effectively. However, none of the Muslims he targets is a clearly defined character. The absence of an identifiable Muslim individual towards whom his meanness is directed considerably lessens the impact of those scenes. Trivedi’s conduct evokes revulsion, but the writing is at pains to offset these aspects of his character by shortly afterwards building him into a crusader for good, the leader of a rebellion at Surya’s check-post. This review is certainly not a call to paint any character in black or white alone. Not at all. But the characterisation of this man feels like a balancing act.

The writers are also unable to see Surya and Renu as just people, and instead view them almost solely through the lens of their respective caste identities. In their first scene together, the couple discuss the social disparity between them, and Surya repeatedly addresses her throughout as “Renu Sharma” and “Sharmaji”. We get it, her surname is Brahmin – the point is conveyed too self-consciously.

That said, Bheed is notable for being that rare contemporary, mainstream Hindi film to foreground caste (Sinha’s own Article 15 being another exception in this respect). It is also gutsy for Bheed to show a Dalit man and Brahmin woman in love, considering the circumstances in today’s India. A liaison between a man from a marginalised caste and an upper caste woman is far more likely to spark outrage and violence in the real world than a gender role reversal, because patriarchal societies view women as repositories of community honour and property that is passed on to their husband’s community after marriage. Bheed sticks its neck out in this matter.

Surya’s line to Renu, “Justice is always in the hands of the powerful, Sharmaji. If the powerless served justice, then justice would be different,” is well made. His hurt and anger at the humiliation he is subjected to despite his position of authority are also put across well. However, the alliance he forms just minutes later with the repugnantly casteist individual who demeaned him is unconvincing, and the conversation he has with his boss about wanting to be a hero is written clumsily. He also seems to need his upper-caste girlfriend’s guidance and/or goading every step of the way to become the man he wants to be – in bed and at work. In this aspect, especially, I missed the writing (by Gaurav Solanki and Sinha himself) of the clear-headed underground Dalit resistance leader Nishad in Article 15 .

Initially, Bhumi Pednekar and Rajkummar Rao play off each other rather nicely, but after a while, their conversations are weighed down by a singular fixation on caste.

The absolute trough in the script though is the portrayal of the star journalist whose bleary dialogues are written like lines from a PhD thesis.

Where the script shines is in the writing of Geetanjali and Kanhaiya, the memsaab’s blinkered comments to her driver that could only come from a person who is completely oblivious to her extreme privilege and his lack of choice, and the warmth between them despite her I-me-myself approach to their equation. She is not painted as the devil incarnate and he is not romanticised as a saint, which is the most effective lead-up you could have to that crackerjack moment when a spontaneous act of kindness by Kanhaiya suddenly makes her aware of how incredibly self-centred she was being. Dia Mirza and Sushil Pandey are excellent in their respective roles.

In a cast packed with proven talents, the other actor who stands out is Aditya Srivastava as Surya’s colleague Ram Singh. The writing really comes together in his characterisation, and Srivastava is delightful in the way he depicts his resentment towards Surya and his casteist sneering without slacking off at work.

Since 2018, Anubhav Sinha has earned a reputation for questioning the establishment – the government, the religious majority, caste and patriarchy – through his films at a time when it has become dangerous to do so. Mulk , Article 15 , Thappad and Anek have each raised issues that commercial Hindi cinema usually does not. Anek was a misfire, but the rest were successful in generating important debates even among those who were not fond of them. Bheed lies somewhere in between. Cinematically, it shines only sporadically, but as a mark of defiance against a repressive regime, it is remarkable.

Rating: 2.75 (out of 5 stars)

This review was first published in March 2023 when Bheed was in theatres. The film is now streaming on Netflix.

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial

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Bheed Movie Review

Bheed Devesh Sharma, April 19, 2023

Times Of India

critic's rating: 4.0/5 Satyajit Ray’s Pather Panchali has been hailed as a moving document of human suffering. Perhaps inspired by that, producer and director Anubhav Sinha decided to make Bheed in black and white to bring out the stark reality of what he was trying to convey. The film focuses on the travails of the migrant workers who were forced to march to their villages in 2020 due to a lockdown imposed by the government to reduce the spread of coronavirus. The film not only sheds light on the plight of the downtrodden but also brings into focus the sharp religious, racial and caste divide that still prevails in our country. The director doesn’t pull any punches. Nor does he indulge in melodrama. Things play out as they would in real life. We’ve all seen them happening around them and have chosen to ignore them. Anubhav Sinha forces a mirror onto us, forcing us to take a harsh look, daring us to look deep into our own reality, unflinchingly. The film is set in a rural outpost which forms the border of two states somewhere in North India. The authorities have imposed a lockdown, which leads to roadblocks everywhere. A police officer Surya (Rajkummar Rao) is asked by his senior (Ashutosh Rana), to command a crucial roadblock. He’s happy to be given this responsibility. Despite wearing a police officer’s uniform, he lacks confidence because of a deeply ingrained sense of inferiority as he belongs to a low caste. He loves a doctor (Bhumi Pednekar) but he’s afraid of marrying her for fear of repercussions, as she’s a brahmin. As the roadblock offers an artery to a different state, it soon sees a large crowd being gathered, despite it being off the main highway. People travelling in cars, buses, trucks and even tractors descend on it, demanding right of the way. Among these a bus belonging to Muslims, another carrying high caste but lower income Hindus, led by a watchman (Pankaj Kapur), a high society woman (Dia Mirza), who is travelling in her posh car to take her daughter home from her boarding school, and a group of newshounds led by Kritika Kamra. An easy assignment turns nightmarish for Surya, as he finds himself in the middle of children bawling for food, women lacking facilities to answer the call of nature and other sanitary needs, politically connected men threatening him with repercussions, while his superiors have no idea how to handle the situation. Things threaten to go out of hand. Thanks to misinformation, Muslims are seen as virus spreaders. Hindus shun the food they’re willing to share, suspecting it of being infected, several people, showing symptoms of the virus, need to be isolated, while others need to be treated for malnutrition. An emergency field hospital gets set up but it’s woefully short of supplies and personnel. Rising hunger leads to a riot-like situation, with people threatening to raid a nearby mall for food. Tempers flare and the old prejudices pile up. Things come to such a state that constant reminders of belonging to a low caste freeze up Surya. He goes into a vegetative state, till circumstances bring about a change. He stands up for what being a policeman truly entails – the welfare of those around him, regardless of class, creed or religion. He goes about doing his duty with his head held high, saving himself in the process, his example offering hope that even during the bleakest of winters, sun might shine. There’s a lesson for everyone in the film. The first and foremost lesson being how deeply ingrained the caste divide is. It’s something the director brought up in Article 15 as well. There, at least, the facade of uniform was maintained. Here, the naked truth emerges in all its ugliness. Another thing it touches upon is the apathy of the media, which is only searching for the next sensational story to increase the TRPs, instead of going after human interest stories. The animosity between different religious groups is brought out as well. Rajkummar Rao’s character raises a valid point when he says that caste doesn’t matter when it comes to survival. The coronavirus has endangered everyone, and the economically backward are the worst affected. They belong to the majority and yet no one cares for them and they increase their misery forming religious and caste divides. But there are positives here as well. At the end, the police personnel realise their humanity and arrange food for everyone. It takes a tragedy for people to unite and for a time at least, let go of their prejudices. Near the end, Dia Mirza’s driver tells her that we need to hold each other’s hands during the time of calamity in order to pass through it. It’s a simple yet powerful statement indeed… The film’s trailer got flak over the internet as it compared the conditions of the mass migration of the workers to India’s Partition, where too, millions were uprooted and used any means necessary to escape the worst. The reality for those belonging to the grassroots hasn’t changed in the intervening years. Kudos to Anubhav Sinha for bringing this crucial message home. We need reminders of our past history, so we don’t succumb to those circumstances again, and Bheed is a powerful reminder indeed. Kudos also to the ensemble cast of actors, comprising Rajkummar Rao, Bhumi Pednekar, Dia Mirza, Ashutosh Rana, Pankaj Kapur and Kritika Kamra for being part of this experimental film and giving their all to their respective roles.

Trailer : Bheed

Archika khurana, march 24, 2023, 2:30 pm ist.

Bheed story: Anubhav Sinha’s social drama highlights the plight of migrant workers during the nationwide Corona virus-induced lockdown and their painful and heartbreaking journey to make their way back home. Bheed review: Without a doubt, the Covid-19 pandemic had a significant psychological impact on people around us and the world at large. Given that it's impossible for a 112-minute film to capture what millions of people experienced in real life, Anubhav Sinha's 'Bheed' is a compelling drama that comes close to relaying the truth of severe hardships migrant workers faced at that time of crisis—with bare minimum access to food, shelter, little or no money, sealed borders, and lack of overall infrastructure to support them. The film also addresses the caste discrimination that some of them faced during those challenging times. The opening scene, which tells the story of “16 migrant workers run over by a train” (as reported), sets the tone for the intense and poignant story that follows. By now, we all are fairly aware of the traumatic incidents that occurred during the course of the pandemic, and even the thought of it can still shake you up. So, watching this story unfold and revisiting some of these incidents cinematically, could have a similar effect on you. The screenplay by Anubhav Sinha, Saumya Tiwari, and Sonali Jain refrains from sensationalising any aspect of the story and allows ‘Bheed’ to remain closer to reality. Interestingly, what makes this social drama stand out is the way it is shot in black and white. Soumik Mukherjee's stark and striking cinematography heightens the impact of the film. As the camera pans on the characters (migrant workers), exposing their bleeding wounds and starving bodies, it will make you shudder. Balram Trivedi (Pankaj Kapur) is a watchman who wishes to return to his hometown with many of his friends and fellow workers. Thousands more, like them, arrive at the Tejpur border, which is 1200 km from Delhi. However, the borders are sealed, and the officer in charge, Surya Kumar Singh (Rajkummar Rao), refuses to let anyone pass through. As a result, Madam Ji (Dia Mirza), who comes from a wealthy family, is also trapped with them. Meanwhile, medical student Renu Sharma (Bhumi Pednekar) organises a camp near the border to provide basic medical aid to Covid patients. The magnitude of each person's problems varies but they are all trapped in this tragic situation with little recourse, and only faith to hold on to. Most of what these characters go through is inspired from real events that make you feel for them. Pankaj Kapur is fantastic as the rampaging Balram Trivedi. Rajkummar Rao once again pulls off a sincere and brilliant performance as an officer on-duty trying to combat caste prejudice, while battling his inner conflict which stems from his roots. Bhumi Pednekar plays his paramour Renu, who belongs to a different caste, but that does not stop them from falling in love. Dia Mirza stands out with her compelling performance. She plays a distraught mother who is unable to meet her daughter, and also someone who comes from a place of privilege and believes that people like her (upper crust of society) will be the ones more affected in the pandemic. The rest (poor section of society), she believes in ki immunity acchi hain . Kritika Kamra as the empathetic journalist Vidhi Prabhakar, pours her heart into the story she is covering and becomes the strong voice of the people. Ashutosh Rana as a senior police officer is fairly underutilised. Anubhav Sinha, in his cinematic portrayal of a certain phase of the pandemic, comes really close to the real-life trauma faced by thousands. Does it make you uneasy? Is it heart-wrenching? Yes, it is, as it is intended to be. The filmmaker is known for his hard-hitting cinema ( Mulk , Article 15 ), and this time again, he leaves you with strong images and stories of miseries, despair and desperation of a certain class of society. ‘Bheed’ isn’t an easy watch, but the harsh reality never is, isn’t it?

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Bheed Review: RajKummar Rao and Bhumi Pednekar starrer is a riveting lockdown drama that depicts India’s class difference

Gretel Sequeira

March 24, 2023

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Directed by Anubhav Sinha, the film Bheed was released in theatres on March 24. Read the review of the movie starring RajKummar Rao, Bhumi Pednekar, Pankaj Kapur, Dia Mirza, and Kritika Kamra.

Bubble Reviews
Bheed Review: RajKummar Rao an ...

bheed review, rajkummar rao, bhumi pednekar,

Film: Bheed

Director: Anubhav Sinha

Star cast: RajKummar Rao, Bhumi Pednekar, Pankaj Kapur, Dia Mirza, Ashutosh Rana and Kritika Kamra.

Platform: Theatres

Bollywood Bubble ratings: 4 stars

Bheed Movie review

Over two years ago, in the blink of an eye, lots changed, for many families. After a nationwide COVID-19 lockdown was announced, several struggled to make ends meet, travel back home and feed their families. While the world saw many dying due to the virus, India, in its rural and under developed regions, saw a much bigger problem. The death toll due to unforeseen reasons than the pandemic, was unnerving. With Bheed, Anubhav Sinha highlights the struggles of the common man and India’s class difference, in a way that has not been told yet.

During and in the post-pandemic era, we have come across several movies and series that depict the struggle of the common man during the lockdown. However, Anubhav Sinha takes the struggle a notch higher with his black and white movie. Despite the lack of colour, Bheed shines with the protagonist being the ‘Aam admi’ entirely, and the antagonist being the society. It brings forward India’s age-old class difference and sheds light on the adversities the common man faced during the lockdown, while many of us enjoyed our time in the comforts of our home, preparing delectable dishes.

View this post on Instagram A post shared by RajKummar Rao (@rajkummar_rao)

Bheed opens with Manoj Bajpayee’s narration. The first scene starts with a group of 16 workers walking (some barefoot) on railway tracks that is leading them towards home. After a long day, walking in the heat for hours, the workers rest and sleep on the railway tracks, for the night. In a shocking turn of events, an express train runs over them, causing the brutal death of 16, including women and children.

The perfection in the depiction of the opening scene leaves you enthralled and sets the seriousness of the situation, right away.

With the opening scene, Anubhav Sinha sets the pace of the film. And, the opening scene works well in getting you hooked. The plot of the movie starts to unfold with a scene where migrants are gathered in groups, at the Delhi state border, in the hope of crossing the state border and head home.

The film brings forward the stories of a duty in-charge (RajKummar Rao), who is fighting against casteism, despite being on a higher authority position, falling in love with a girl (Bhumi Pednekar), the doctor in-charge, a security guard, a purohit by caste, finding it difficult to understand how a lower caste can go up the ladder (Pankaj Kapur), a helpless mother (Dia Mirza), a officer who’s struggling to get his parents admitted due to COVID (Ashutosh Rana), a journalist (Kritika Kamra), and a girl who cycles her way home with her drunk father.

The plot of Bheed reminds you of the times when families struggled due to the partition. The times after they were forced to leave their homes and move to a new land to find shelter. The film’s plot revolves around the nationwide COVID-19 lockdown and highlights the major class difference in the country, communicating the struggles of the people to reach their respective homes and villages.

Star performances:

RajKummar Rao is Surya Kumar Singh Tikas, an officer in-charge, Bhumi Pednekar as a doctor in-charge and Dia Mirza as a helpless mother deliver a noteworthy performance. Pankaj Kapur, who makes an appearance as a security guard, seemingly does his best to lead his ‘gawwale’. He plays his character well and there is nothing to fault, with the veteran’s performance. Kritika Kamra plays a journalist in the film. And, Kamra put up a convincing act as an on-field reporter.

Sushil Pandey, who plays Dia Mirza’s driver in the film is hard to miss with his impactful performance. His performance adds depth to his loyal and humane character.

Throughout the movie, one can clearly understand how the filmmaker focuses on the ‘Bheed’ rather the stellar ensemble cast. He uses his stellar ensemble cast to help understand the class difference and struggle of the people.

Direction and Screenplay:

Anubhav Sinha, Soumya Tiwari and Sonali Jain do a great job when it comes to the plot of the film. A well-knitted plot and a proper execution of the screenplay makes the movie more real. What’s impressive is how the filmmaker adds depth to every character with hard-hitting dialogues. In terms of the music and background score, the rural songs help to express the emotions in the scenes.

Bheed solely focuses on the troubles that the lower class faced during the lockdown. With the movie, Anubhav Sinha brings forward that part of India you never knew about in news channels or the social media, during or after the lockdown. He treats you with jawbreaker scenes that manage to leave chills down your spine. Sinha makes it hard to spot flaws in this fiction turned reality.

Watch the trailer after the Bheed review :

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Home » Movies » Bollywood Movie Reviews

Bheed Movie Review: Looking At The Lockdown As Another Partition Is Fierce, But The ‘Not-So-Subtle’ Commentary Is Unlike Anubhav Sinha

Bheed is a confusing watch, but it does have its merit, and it cannot be ignored.

Star Cast: Rajkummar Rao, Bhumi Pednekar, Pankaj Kapur, Dia Mirza, Kritika Kamra, Ashutosh Rana, Aditya Srivastav, and ensemble.

Director: Anubhav Sinha.

What’s Good: Anubhav kickstarts the conversation with a very relevant perspective about partitions and borders. There is a sense of chaos and fear in how he structures his film until a point.

What’s Bad: Walking past the saviour complex that has seeped into Sinha’s content is getting a bit difficult. Be it Anek trying to rise above stereotypes while getting trapped in them, or even the problems with Bheed.

Loo Break: it’s an uncomforting watch in parts, and there are dull moments too. Decide which side of the spectrum you can bear.

Watch or Not?: It is a tricky situation. A filmmaker is presenting his take on what the pandemic did to the heartland of our country. Maybe give it a try if you can.

Language: Hindi.

Available on: In Theatres Near You!

Runtime: 117 Minutes.

Almost a fortnight into the lockdown that was just the beginning of what was about to come, Tezpur, a village some 1000 KM away from Delhi, witnesses an insurgence in the number of migrants wanting to enter. The government decides to seal the village’s borders, and the hundreds stranded outside it fight the pandemic and their situation.

Bheed Movie Review: Script Analysis

The pandemic for us city dwellers was more about not getting to go out of our abodes and living everyday life, more than the fight for survival. Yes, we had our problems too, but for the majority of us, it never became a situation to choose between life and death. For the migrants, though, who had to vacate the Maximum city and move towards their villages, fought a battle, a battle for life and the fight to save every bit of it if they could. Filmmakers have been trying to capture the situation through their lens over the past two years, but none could crack the idea in a bulletproof way.

Anubhav Sinha, armed with writers Sonali Jain and Saumya Tiwari, decides to tell the story through a lens that captures the reactions of the have-nots to the pandemic. It is quite a fresh perspective to see the boundaries and quest to cross them as a yet another partition. Because it was. The civilized system turned the migrants into workers but never cared about them on doomsday. The boundary is more mental than physical, and the attempt is to bridge it. What works in Sinha’s favour is how he chooses to place the story written by him. His story kick-starts on the 14th day of the lockdown when all of us were confused and borderline misguided. Even the most learned of us.

In this situation, he takes his story right at the core of a landscape that believes in WhatsApp forwards and have no woke sentiments to see an update through a moral compass. Add to it the fact that we are a country obsessed with our fragile religious and casteist sentiments; Sinha has an entire platter. One has to appreciate Sinha for effortlessly showcasing how COVID-19 just added to the already existing mess, and it did not really matter to a very huge section of society over their pride.

But while there is so much that creates a powerful premise, it is Anubhav’s gest to walk past stereotypes that works against him. There is a very strong stereotyping in-your-face streak in how he introduces every single character. Pankaj Kapur plays a security guard who is migrating with his family. The first line he says is “Mein hi aapki Mercedes dhota hoon roj (I wash your car everyday),” over a call to his employer. Or how Rajkummar Rao is established as a breakout face from a labelled lower caste. Or how Muslims were being labelled villains as a political agenda. There is no scope for subtlety in how he chooses to bring these characters in. Even before we know their names, we are told about the atrocities in their lives in a very caricature manner. It feels like a play more than movie at points where reactions have to be even more dramatic to draw attention.

The conversation at one point entirely becomes about the caste and how the hierarchy crushes the ones below. While this is a subject closest to Sinha’s heart, and he has mastered a film where he spoke about it (Article 15), the recurring presence of it hints at his slight Saviour complex more than alarming us. For example, Thappad was a conversation that had a conclusion. Not universal but personal, and it resonates with some and also had some resistance. But it still felt substantial. Here the conversation only continues with no outcome in sight or a personal victory that makes you want to stay on it for a couple of films more. It is a critical discussion and one that should be done on every mainstream platform, but the way how we must do it should also be of importance.

Bheed Movie Review: Star Performance

Rajkummar Rao plays Surya, a man from the have-nots who is now a cop. There are so many nuances in how Anubhav and Raj together establish this man who has only learned taking orders and never given them from the grassroots level. Now it is his test when the power is with him about how he uses it. Add to it that the world doesn’t let him forget his roots and use them like a weapon against him. Rao has a special bone for being vulnerable on screen, and he does it very well.

Bhumi Pednekar as a girl from a higher part of the hierarchy, has had her set of struggles. The actor is amazing at what she does. But the script focuses more on her romantic inclination towards Surya than what she goes through as the doctor. The two get an unnecessary intimate sequence that talks about how even after rising above Surya is still scared to even touch a girl from a higher cast, forget having s*x with her, but it doesn’t end well. Their dynamic certainly ends up looking half-baked.

Pankaj Kapur is a seasoned performer and does his best to bring out the evil of this setup in words. He is used as the voice of the ones waiting at the boundary but is also stereotyped in many ways. Kritika Kamra, as a journalist, is promising and impressive. But her arc ends at the point where she ends up giving a ‘Incredible India’ monologue and doesn’t go beyond. Journalism saw a paradigm shift in both negative and positive ways in these times and her arc doesn’t serve even the tip of the iceberg.

Dia Mirza sadly gets the most under baked part as a divorcee who is racing against her former husband to reach their daughter and doesn’t care if some people die on the way. She gets one scene where she flaunts her privilege and one where someone makes her acknowledge it. Nothing in between.

Bheed Movie Review: Direction, Music

Anubhav Sinha has a lot to say about the situation, and you can see that in how he places topics around in the same frame. The best part is how he places a functional mall right at the border where the immigrants are stranded. Some of these are the ones who were the daily wage workers in building that mall but are now not allowed inside. A character even says at one point, ‘Mall ban jaane ke baad uske andar mazdoor ke jaane ki parampara nhi hai.’ It says so much about the way we treat people.

But In the attempt to highlight the bigger evils, the movie entirely forgets the medical chaos, the lack of resources, and women safety completely. The landscape the story stands on gives ample room for these discussions but it never does them.

DOP Soumik Mukherjee (Thappad) does a brilliant job at capturing this world. The idea to shoot a film in monochrome is not an easy one, and it is a nightmare to execute. Everyone from the set designer, to the costume, to hair has to be in extra synch because there are no colours to cover-up.

Anurag Saikia’s music is powerful, especially Herail Ba; it encompasses the entire situation and is a gut-wrenching piece of art.

Bheed Movie Review: The Last Word

Bheed is a mix of a conversation that is needed and an ideology that overpowers the said conversation. It is a confusing watch, but it does have its merit, and it cannot be ignored.

Bheed Trailer

Bheed releases on 24th March, 2023.

Share with us your experience of watching Bheed.

For more recommendations, read our Gulmohar Movie Review here.

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COMMENTS

Bheed Movie Review: A brave portrayal of the plight of migrant workers
Bheed Movie Review: Critics Rating: 3.5 stars, click to give your rating/review,Anubhav Sinha, in his cinematic portrayal of a certain phase of the pandemic, comes really close to
Bheed review
A rich upper-caste woman (Dia Mirza) waltzes over accompanied by her driver, fully expecting to sail through. A young woman who worked as a maid in the city risks her life to get her alcoholic ...
Bheed
The people that looked like a 'BHEED' must feel like a society. India must win. The most multifarious flock trammeled tightly together to look and feel like one, Indian society but has traversed ...
Bheed
Full Review | Original Score: 2.5/5 | Mar 24, 2023. The actors merge with the film's physical space to absolute perfection and achieve phenomenal emotional depth. Full Review | Original Score: 4/5 ...
Bheed (2023)
Bheed: Directed by Anubhav Sinha. With Rajkummar Rao, Pankaj Kapur, Bhumi Pednekar, Aditya Srivastav. The toughest times people had to face just to reach their homes.
Bheed Movie Review: A brave portrayal of the plight of migrant workers
Bheed story: Anubhav Sinha's social drama highlights the plight of migrant workers during the nationwide Corona virus-induced lockdown and their painful and heartbreaking journey to make their way back home. Bheed review: Without a doubt, the Covid-19 pandemic had a significant psychological impact on people around us and the world at large.Given that it's impossible for a 112-minute film to ...
Bheed Review: Anubhav Sinha's Portrait of the ...
Bheed Review: Anubhav Sinha's Portrait of the Lockdown Succeeds More Than it Fails. The film has terrific performances by Pankaj Kapur and Rajkummar Rao. Rahul Desai. Published on : 24 Mar 2023, 5:30 am. Director: Anubhav Sinha. Writers: Sonali Jain, Saumya Tiwari, Anubhav Sinha. Cast: Rajkummar Rao, Bhumi Pednekar, Pankaj Kapur, Ashutosh ...
'Bheed': Review
A group of Hindu security guards and their families, led by Trivedi (Pankaj Kapur), is suspicious of the Muslims, thinking of them as Covid super-spreaders. A well-heeled lady (Dia Mirza) in her ...
Bheed (2023)
8/10. BHEED is better than you think. indiancoasterenthusiast 25 March 2023. BHEED is a slow, intense, unrelenting, thought-provoking, and above all, a CHALLENGING film. It sets itself apart from other COVID-19 dramas by also being an effective contained thriller set in a secluded police checkpoint near a mall.
Bheed Review: Rajkummar Rao And Pankaj Kapur Deliver Outstanding
Bheed Review: The other cast members - notably Ashutosh Rana, Bhumi Pednekar, Dia Mirza and Aditya Srivastava - are no less effective. Rajkummar Rao in a still from Bheed. (courtesy: YouTube) Cast ...
'Bheed' Review: A Poignant & Gripping Look Into Tragedy and Human Nature
Anubhav Sinha's film Bheed, stars Rajkummar Rao, Bhumi Pednekar, and Pankaj Kapur in lead roles. It showcases the horrors of the 2020 Lockdown, with a lens on the migrant crisis.
Bheed review: A lockdown tale that hits you hard
Bheed movie review: Rajkummar Rao and Bhumi Pednekar in Bheed. On March 24, 2020, when a nationwide lockdown was announced and state borders were closed to prevent the outbreak of the coronavirus ...
Bheed Movie Review: Rajkummar Rao's black-and-white film has all the
The film hits too close to home and brings back painful memories from Covid days, says our review. Rajkummar Rao's Bheed is a lockdown thriller that follows the migrant workers trying to get back to their homes during the Covid-19 pandemic.
Bheed Movie Review: Rajkummar Rao's engaging lockdown thriller that
Movie Name:BHEED. Critics Rating: 3 / 5. Release Date: MAR 24, 2023. Director: Anubhav Sinha. Genre: social drama. Bheed Movie Review: No one wishes to remember 2020, but the mentioned year has ...
Bheed movie review: A grim and necessary reminder of a recent tragedy
Bheed movie review: It is clear why it was tempting to use the analogy of the Partition, which Anubhav Sinha had to excise from the film. With the context missing, this well-intentioned film becomes less than its powerful moving parts. Rating: 2.5 out of 5. Written by Shubhra Gupta
'Bheed' movie review: Anubhav Sinha's cry for social justice needs to
Bheed (Hindi) Director: Anubhav Sinha. Cast: Rajkummar Rao, Pankaj Kapur, Bhumi Pednekar, Ashutosh Rana, Aditya Srivastava, Dia Mirza. Runtime: 114 minutes. Storyline: An account of migration ...
'Bheed' Movie Review: Anubhav Sinha's Powerful Film is Not the One Promised
Bheed ('Crowd'). Cast: Rajkummar Rao, Bhumi Pednekar, Pankaj Kapur, Ashutosh Rana, Dia Mirza, Kritika Kamra, Aditya Srivastava, Veerendra Saxena. Direction: Anubhav Sinha. Rating: **1/2. Showing in theaters. When the first trailer of Bheed dropped on social media around March 10th, it created a lot of buzz and disbelief.. It began with a familiar voice — of Prime Minister Narendra Modi ...
Bheed movie review: Filmmaking as an act of defiance
Bheed lies somewhere in between. Cinematically, it shines only sporadically, but as a mark of defiance against a repressive regime, it is remarkable. Rating: 2.75 (out of 5 stars) This review was first published in March 2023 when Bheed was in theatres. The film is now streaming on Netflix.
Bheed
Bheed (transl. Crowd) is a 2023 Indian Hindi-language social drama film written, directed and produced by Anubhav Sinha.It is a fictional story set during the events of the 2020 COVID-19 lockdown in India. It stars Rajkummar Rao in the lead role along with Bhumi Pednekar, Dia Mirza, Ashutosh Rana, Pankaj Kapur and Kritika Kamra.. Principal photography commenced in October 2021 and ended in ...
Bheed Movie Review
1 hours 54 minutes. Bheed Movie Review. Filmfare. Times Of India. critic's rating: 4.0/5. Satyajit Ray's Pather Panchali has been hailed as a moving document of human suffering. Perhaps inspired ...
RajKummar Rao and Bhumi Pednekar starrer Bheed Review
Directed by Anubhav Sinha, the film Bheed was released in theatres on March 24. Read the review of the movie starring RajKummar Rao, Bhumi Pednekar, Pankaj Kapur, Dia Mirza, and Kritika Kamra.
Bheed Movie Review: Looking At The Lockdown As Another ...
Bheed Movie Review: The Last Word. Bheed is a mix of a conversation that is needed and an ideology that overpowers the said conversation. It is a confusing watch, but it does have its merit, and ...
Bheed
Get ready to be moved by the untold story of a crisis that shook the whole nation. A time when borders of disparity divided the people. Witness the moving ta...