Assi Movie Review: Riding on Kani Kusruti and Taapsee Pannu’s performances, this Anubhav Sinha film forces you to confront the ugly truth

Stories about violence against women are never easy to watch — but they are often necessary. Over the years, Hindi cinema has tried to shine a light on uncomfortable truths, telling stories of pain, survival and the long, difficult road to justice. Much like Assi, which follows a survivor’s fight to reclaim her voice, several Bollywood films have explored these realities with honesty and emotional depth. Let's take a look at the films that do more than narrate incidents; they invite audiences to feel, reflect and question the systems that shape women’s lives.

• "Assi" directed by Anubhav Sinha, hits theaters Feb 20
• The film tackles rape cases with stark realism and urgency
• Taapsee Pannu and Kani Kusruti deliver powerful performances

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‘Assi,’ directed by Anubhav Sinha, will release in theatres on 20 February and stars Taapsee Pannu, Kani Kusruti, Kumud Mishra, Mohd Zeeshan Ayub, Manoj Pahwa, and Naseeruddin Shah.

‘Assi’ is a deeply disturbing film that leaves you shaken and furious at the indifference surrounding rape cases. It does not ease you in gently; it hits with force and refuses to soften its stance. And in doing so, it quietly holds a mirror to ace filmmaker Wim Wenders, who, while opening the Berlin Film Festival this week, remarked that films should never be political. ‘Assi’ stands in quiet opposition to that idea.

An unsettling wake-up call

This is precisely the kind of cinema that arrives with intent—to question, to confront, and perhaps to provoke change. Its subject is urgent and painfully relevant, echoing a reality where reports of assault surface with alarming regularity. Director Anubhav Sinha underscores this with a stark red message every 20 minutes across the screen stating that a rape has just occurred as you watch the film. More than impressive, ‘Assi’ feels necessary. It argues its case with clarity and conviction.

A trial beyond the crime

The story follows Parima (Kani Kusruti), a schoolteacher leading a modest life with her husband Vinay (Mohd Zeeshan Ayub). Her world collapses when she is abducted by four young men and assaulted repeatedly in a moving vehicle, an attack that leaves her eyesight damaged. The police act quickly, identifying suspects through CCTV footage and eyewitness accounts. Yet the true ordeal begins in court, where Parima must identify her attackers.

Raavi (Taapsee Pannu), her lawyer, steps in to build the case and safeguard the evidence. Meanwhile, Deepraj (Manoj Pahwa), father of one accused, attempts to manipulate the system to protect his son. Running parallel is the story of Kartik (Kumud Mishra), whose wife, a public prosecutor, died in a hit-and-run incident that never saw justice. These threads combine to form a layered narrative about power, privilege, and the cost of silence.

Unfiltered and unforgiving

Beyond its subject, what stands out is Sinha’s control over tone. He stages the film in a way that pulls you uncomfortably close to events, almost as if you were present in the room. The atmosphere feels lived-in and raw. Parima’s suffering is not stylised; it is presented with painful honesty. The assault sequence is extremely difficult to watch and demands emotional stamina from the viewer.

Anger rises naturally, not because the film pushes it, but because the injustice is undeniable. The cinematography complements this mood, crafting a visual texture that matches the story’s gravity. While other films have explored similar themes, ‘Assi’ approaches the material with a stark realism that avoids dilution. The screenplay remains focused, refusing to sensationalise what is already horrifying.

Performances that cut deep

The performances lend the film its strongest pulse. ‘After All We Imagine as Light,’ Kanu Kusruti delivers a remarkable portrayal of Parima. She embodies the character’s trauma without excess, keeping her performance restrained and deeply affecting. The courtroom moment where she removes the cloth from her face stands out for its emotional precision. Taapsee Pannu, as lawyer Raavi, brings steady resolve to her role and thrives under Sinha’s direction once again.

Mohd Zeeshan Ayub portrays Vinay with quiet strength, and his scenes with his son add warmth to an otherwise heavy narrative. Advik Jaiswal is moving as the child caught in circumstances beyond his understanding. Kumud Mishra, as Kartik, remains somewhat underwritten, leaving his motivations less explored than they could have been.

Manoj Pahwa and Naseeruddin Shah appear briefly yet make their presence felt. The actor who leaves the strongest impact is Revathy as the judge, delivering a performance that is nothing short of extraordinary.

Also read: Assi Trailer Out: Taapsee Pannu takes on silence and the system in Anubhav Sinha’s courtroom drama

More than just a film

‘Assi’ does not fade when the screen goes dark. It stays with you, as though the events unfolded somewhere close to home and you were among the silent onlookers. The film works because its music, writing, and performances operate in harmony, strengthening its hard truths. Apart from a brief “Chhatri Man” reference that feels slightly forced, the narrative avoids gimmicks.

It consciously rejects melodrama and even takes a bold step by placing children inside a courtroom during the rape trial, a choice that adds another layer of discomfort. More than simply well-made, ‘Assi’ feels essential. It demands attention rather than applause.

Rating: 4/5