In Dhadak 2, director Shazia Iqbal brings a fierce lens to mainstream Hindi cinema. Foregrounding caste in a way that few recent Bollywood films dare to attempt. Adapted from Mari Selvaraj’s acclaimed Tamil film Pariyerum Perumal (2018), Iqbal’s version doesn’t gloss over the weight of caste, it makes it the crux of the romantic-drama. In Dhadak 2, set in a North Indian city, Neelesh (Siddhant Chaturvedi), a Dalit law student, catches feelings for Viddhi (Triptii Dimri), an upper-caste classmate. Their relationship isn’t a side story. It’s deeply tied to the caste realities in every space they enter. From the bullying Neelesh faces in college to threats from men like contract killer Shankar, the film highlights caste at every turn, giving each scene a sense of tension. One of the film’s most affecting strengths is how it reimagines the heroine. Unlike her counterpart in the Tamil original, Viddhi is not a passive romantic. She evolves into a political force in her own right. Unwavering, empathetic and at times, rousing in her speech, though occasionally dipping into virtue-signalling. Cinematographer Sylvester Fonseca brings the Ambedkarite movement into the visual language. Though the film doesn’t shy away from trauma, the very act of love in this context becomes revolutionary. Dhadak 2 surpasses its predecessor by highlighting inter-caste relationships rather than diluting its importance.​

Movie Review: Dhadak 2