Rating: 3.5/5
Acclaimed filmmaker Dibakar Banerjee’s unconventional film has his name written all over, which has been made in a distinct manner

Suspense. Thrill. Forgery. Crime. Conscience. Right and Wrong. Sandeep Aur Pinky Faraar has it all painted right since the nail-biting opening sequence. The film is one of those that becomes a topic of discussion over time, but when released, people turn it down. The film is one of those that is tested through time to mark its worth.

Watch the trailer here:


Sandeep Kaur aka Sandy Walia (Parineeti Chopra) is hiding a secret, which can bring down an entire bank. Pinky (Arjun Kapoor), a constable in Haryana police simply wants to get back to his job, but his superiors won’t let him. By chance, they both have to get together and abscond, to save their own lives.



Written by Banerjee and Varun Grover, it’s a dark film. Not just visually but conceptually as well. It is primarily about the wicked and hidden faces of human beings, which gets darker and darker for greed.

With a long take thrilling opening sequence, the film brings in a wow factor making you hooked right in. Just after this, you get a revisit to the same sequence and you are thrilled even more. This is where you get a sense of what’s happening and you like it. However, soon after this the film dips, both in its pace and mood. It is here that you would have wished Banerjee did something to maintain the consistency.

sandeep aur pinky faraar, film, hindi, review, 2021
Parineeti Chopra, Director Dibakar Banerjee, Arjun Kapoor on sets (image source: instagram)

The grueling positioning of the first 20mins is brought down considerably and the film achieves a tone like that of an art film. And from there on, it remains an art film. A good one though. The underplayed writing asks you to get into a zone, absorb things at their own pace and let the film grow on you. Not for all of course, if you do even try to breathe in the feel, you will sail through. Yes, not everybody can do that.

The film at the outset is a simple story of coming to terms with life and realizing its worth, even it needs to make drastic sacrifices. With the talks of economic class difference and a heart wrenching molestation scene (directed powerfully, so much to give you goose bumps) to showcasing the emptiness of a woman, the film touches many chords, for which you require patience.

The same story has plot points very common to your scam related or fraudster films. You have this treatment because it’s Banerjee. Otherwise this would have been edgy and fast. So if you like Banerjee for what he brings to the table, this one’s for you.


Parineeti Chopra is brilliant in the film. She not only looks stunning, she performs with utmost perfection. You don’t see any other actor doing this role. She’s so good. There’s a scene where she has to loudly cry and scream. She does it so realistically that you are choked right in your seats.

Arjun Kapoor also has performed ably. His face has one expression all throughout, which here works wonders. You like him in this film, only because he suits.

sandeep aur pinky faraar, review, film, hindi, 2021
Scenes from the film (image source: youtube.com)

Jaideep Ahlawat is so natural that he speaks some impactful dialogues and does something with his body so quickly that you fail to observe his genius at times. Hats off.

Raghubir Yadav, the master has once again shown what incredible actor he is. Watch him and just keep watching him. He literally shadows all others in the frame, even when he is sitting idle. Neena Gupta is also very good, delivering her innocently naughty side.



Music by Anu Malik doesn’t do much for the film. Score by Dibakar Banerjee mostly consists of one Santoor piece played at some point in the film. The narrative mostly relies on diegetic sounds, working supremely well for the film.

Cinematography by the genius Anil Mehta is very good. Giving the film a dark tone all through even during daytime is commendable. The aura is suspicious and dark, which gives strength to the film. Production design by Garima Mathur and Aparna Sud is also nicely crafted. Mostly outdoors, the locations have been availed intelligently.

Editing by Bakul Baljeet Matiyani is leisurely and keeps Banerjee’s vision on top priority. The feeling of moving with the characters and slowly consuming the film is majorly achieved by editing. It’s never dull even though the writing is slow and calm.

This is definitely not what you would expect. It’s a risky affair. When you get what you don’t expect, you either like it very much or you don’t like it at all. Mostly, the latter happens, for the larger chunk. Here, the former happens, for the class and the niche. Give it a watch.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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