At a time when mainstream Hindi cinema often mistakes noise for intensity and spectacle for substance, Anurag Kashyap’s Bandar arrives as a welcome reminder of the power of grounded storytelling. It is neither an easy film nor a crowd-pleasing one. Instead, it is a gritty, morally complex thriller that trusts its audience to engage with difficult questions without spoon-feeding answers.
The film carries expectations on multiple fronts. For Bobby Deol, it represents another significant milestone in a career resurgence that has steadily gathered momentum over the last few years. For Kashyap, it marks a return to the kind of uncomfortable, socially charged storytelling that once defined some of his finest work. The result is a film that may occasionally stumble under the weight of its ambitions but remains consistently compelling.
Bandar centres on Samar Mehra (Bobby Deol), a fading television celebrity whose life unravels after a woman he meets through a dating app accuses him of rape, blackmail and extortion. What begins as a personal fallout soon escalates into a media circus, drawing in law enforcement, public opinion and a justice system that often appears as interested in perception as it is in truth.
The accusation comes from Gayatri Anand (Sapna Pabbi), a self-styled healer whose relationship with Samar takes an increasingly complicated turn after the two meet online. What begins as an intimate connection soon spirals into a high-profile legal battle that leaves Samar’s reputation, career and personal life hanging by a thread. On the outside, his strongest support comes from his free-spirited girlfriend Khushi (Saba Azad) and his frustrated yet fiercely loyal sister, played by Sanya Malhotra.
What makes Bandar interesting is that it refuses to function as a conventional thriller. Kashyap is less interested in uncovering a mystery than in examining the machinery surrounding it. The film explores celebrity culture, media sensationalism, public outrage, institutional failures and society’s increasing tendency to pronounce verdicts long before facts are established. Throughout its runtime, Bandar continually challenges viewers to question what they know, what they believe and why they believe it.
The film’s biggest asset is undoubtedly Bobby Deol. Delivering what is arguably the finest performance of his career, Deol brings remarkable restraint and emotional depth to a character trapped in circumstances that are deliberately presented without easy answers. He never plays Samar as a straightforward victim, nor does he seek sympathy through melodrama. Instead, he embraces the ambiguity of the role, allowing the audience to wrestle with its own conclusions. It is a mature, controlled performance that carries much of the film on its shoulders.
Sapna Pabbi also deserves mention for portraying a character who remains one of the film’s most debated elements. The screenplay intentionally withholds easy answers about Gayatri’s motivations, allowing audiences to interpret her actions through their own lens. While some viewers may wish for greater psychological depth, Pabbi brings enough unpredictability and emotional volatility to keep the character consistently intriguing. Saba Azad and Sanya Malhotra provide solid support, though their roles primarily serve as emotional anchors within Samar’s increasingly chaotic world.
One of the film’s strongest achievements lies in its commitment to realism. The prison sequences are among the most effective portions of the narrative, capturing the dehumanising realities of incarceration without resorting to excessive melodrama. Kashyap’s eye for detail lends these moments an authenticity that enhances the film’s credibility, while the cinematography complements the tone with a raw, grounded visual style that rarely feels manufactured.
The screenplay succeeds in maintaining a persistent sense of unease. Even during its quieter stretches, there is an underlying tension that keeps viewers invested in Samar’s journey. While Bandar is not designed as a conventional edge-of-the-seat entertainer, it possesses enough intrigue and emotional stakes to remain engaging throughout.
That said, the film is not without its flaws. Its ambition occasionally becomes its greatest obstacle. In attempting to tackle multiple social, cultural and institutional issues simultaneously, the narrative sometimes feels overloaded. Certain themes are introduced with conviction but not explored with the depth they deserve. There are moments where the screenplay appears more interested in raising questions than pursuing them, resulting in a film that occasionally loses focus.
The handling of gender politics, consent and sexual assault allegations is likely to generate the strongest reactions. Some viewers may interpret the film as sympathetic towards accused men, while others may view it as a broader critique of public judgement and the dangers of trial by media. To Kashyap’s credit, the film largely avoids simplistic positions. Rather than providing definitive answers, he chooses to examine the ecosystem surrounding allegations — the media frenzy, public outrage, legal complexities and societal biases that often shape narratives long before the truth emerges.
What ultimately works in Bandar’s favour is its refusal to provide comfort. It thrives in uncertainty, consistently placing its audience in morally uncomfortable territory. Rather than offering neat resolutions, it asks difficult questions about justice, reputation, punishment and the consequences of collective judgement.
Bandar may not rank among Anurag Kashyap’s finest works, but it remains one of the more compelling Hindi films of recent times. Anchored by a career-best Bobby Deol performance and powered by Kashyap’s trademark grit, the film succeeds not because it has all the answers, but because it is willing to ask uncomfortable questions. Its flaws are visible, its ambitions occasionally exceed its grasp, yet its willingness to embrace complexity makes it stand apart in an increasingly formula-driven cinematic landscape.
In an era increasingly dominated by formula, Bandar stands out simply because it dares to be uncomfortable.
Movie: Bandar
Director: Anurag Kashyap
Featuring: Bobby Deol, Sapna Pabbi, Sanya Malhotra, Saba Azad, Indrajith Sukumaran, Jitendra Joshi
Cinematography: Saiyed Shaaz Rizvi
Theatrical Release Date: 5 June 2026
Run Time: 2hrs 16mins
Bandar
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