The British-Hindi film Santosh, directed by Sandhya Suri, has earned global recognition, including an official Oscar nomination, competing against films from 85 countries. It has become a milestone, being the first Hindi film ever sent from Britain to the Oscars for Best International Film.
Despite this, Kiran Rao’s Laapta Ladies were eliminated early in the competition.
Santosh is a feminist drama with a compelling narrative about caste, gender, and corruption. While Suri was born in Britain, Santosh is a distinctly Indian film, showcasing Indian locales, language, and actors. This film marks Suri’s debut feature, following her work in short films and documentaries.
The film premiered at the prestigious Un Certain Regard section at the 77th Cannes Film Festival and has since screened globally, including at the Mumbai Film Festival and the Red Sea International Film Festival in Jeddah, Saudi Arabia.
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The film’s cinematography by Lennart Hillage deserves special mention. His visual storytelling adds layers of depth to each scene, notably in emotionally charged moments like the discovery of a Dalit girl’s body in a well and the police raid in Meerut.
Santosh follows the story of Santosh Baliyan, a young woman from Muzaffarnagar, Uttar Pradesh. After the death of her husband, a police constable, Santosh is left to navigate life alone. With no family to rely on, she joins the police force in place of her husband to secure a government home.
However, this decision leads her into a complex web of corruption, caste tension, and gender inequality within the male-dominated police system.
The film delves into the investigation of a Dalit girl’s rape and murder. Santosh, alongside her superior Mrs. Sharma, is tasked with solving the case. A Muslim boy, wrongfully accused, is tortured and killed during the investigation, leaving Santosh as a silent witness to the brutality.
The film’s emotional core lies in the heartbreaking reactions of the victims’ families, showcasing grief and helplessness rather than explicit violence. Despite no overt political commentary, Santosh subtly critiques the caste and religious divides that influence the judicial system.
As the investigation unfolds, Santosh realizes the true culprit is the Jat village head’s husband. In a pivotal moment, she decides to leave the oppressive police force, symbolically removing her uniform and returning home in a colourful salwar kameez.
Santosh is a slow-burn film that stirs deep emotions, highlighting human suffering and the impact of social systems, without resorting to sensationalism.
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