Documentarian Sandhya Suri’s feature debut, Santosh, revolves around a widow who is trying to find her feet after her husband’s untimely death. The simple narrative evolves into a more complex police procedural that will leave you unsettled by the end of it. Starring Shahana Goswami and Sunita Rajwar, Santosh had its world premiere in the Un Certain Regard section at the Cannes Film Festival this year. It is also the UK’s official Oscar entry for Best International Feature for 2025.
Santosh: Plot
After her husband, a constable, is killed while maintaining the peace during a riot-like situation, Santosh Saini (Goswami) takes up his position on compassionate grounds. The widow, trying to maintain independence away from her parents and ungrateful in-laws, steps up where needed. She soon learns on the job when to keep silent, when to lie, and when to accept a bribe. However, during the murder investigation of a young Dalit girl named Devika, Santosh finds herself a little in over her head.
Santosh: Writing and DirectionWith the entrance of Sunita Rajwar’s inspector, Geeta Sharma, Suri’s film becomes more compelling. As the two main women on the case, the situation becomes more potent and thornier as they chase a young Muslim boy, Saleem (Arbaz Khan), as a suspect. Suri’s screenplay is constantly sharp, and her gaze is focused on Santosh and her adoption of this new way of life. The writer-director shows moments of Santosh’s unspoken grief as she is tied into the investigation that becomes more about emotion than justice. In one sequence, Suri depicts Santosh’s POV through a harsh lens, signaling a massive change for the character.
Santosh: Performances
The film belongs to the two women, and it’s fascinating to see their bond evolve over the film. From their first meeting to their last talk, Santosh and Geeta are still women trying to survive in a patriarchal society. Shahana embodies Santosh completely, making us feel every emotion from her personal despair to her prickling conscience as events move out of her control. Rajwar, who is often cast as the comedic relief in projects, is startlingly good as the perceptive officer who is constantly reminded of her place.
Santosh: Critique
Though fictional, the Hindi film touches upon some pertinent issues that citizens and the police deal with even now. The plight of the lower-caste villagers and constant struggle to just exist are laid out so plainly. Suri’s depiction of the survivors, Devika’s grieving parents, and Saleem’s family is even more heartbreaking. Without much ado, she shows how the more things change, the more they remain the same. In the second half, the action gets a bit dehumanising, which is closer to reality than most. The film deftly explores the illusion of who holds power. With its casual use of police brutality, combined with the knowledge that justice will never really be served, Santosh leaves you troubled with its truth.
