Disclaimer: This piece is a spoiler-laden reading of the recently released Bollywood film Stree 2. It may spoil your viewing experience if you haven’t seen the film yet. Reader discretion is advised.

My mind felt heavy and clouded as I entered the theatre to watch Stree 2. I was disturbed, shaken, and baffled, seeing the proceedings of the horrific Kolkata rape-murder case. I was filled with anger and many questions.

That was the backdrop. And, it did significantly affect my film-watching experience.

In one of the more powerful scenes in Stree 2, Stree encounters the headless monster Sarkata on the battlefield and kills him. The drama is intense and inspiring, showing the lone ghunghat-clad female fighting off her attacker. While the combat ends, its underlying message remains. It is about the inherent threat that women face daily in the public sphere – workplaces, public transport, education centres etc. She is not safe walking alone at night. She is not safe working late into the night at her workplace. She doesn’t feel protected even at home if her partner or a male member isn’t the right kind. Then, where exactly is she (Stree) safe?

That, I feel, is the film's overarching theme – women's safety.

Unlike its terrific predecessor Stree&nbsp;from the Maddock Supernatural Universe, Stree 2 delves into a more realistic depiction of the state of women's safety in India. Seeing the horrors of a patriarchal society unfold on the screens, is a bit too much to bear, to be honest. But the question is - can we escape the stark reality on screens? An even bigger question is – should the filmmaker choose to show reality as is or set the tempo a notch higher by creating a world that’s ideal yet imaginary?

Director Amar Kaushik does both deftly.

In the first instalment of Stree, Kaushik and writers - Raj Nidimoru and Krishna DK set up quite a unique premise where a female spirit threatens the men of the small town of Chanderi and abducts them. And, the men are scared stiff of this female ghost. They dress up in sarees, lock themselves up and request their wives to protect them. We also see women freely roaming around in the town. Talk about dismantling and subverting patriarchal structures and these powerful scenes come to mind.

In the sequel, Kaushik and writer Niren Bhatt bring elements of magical realism into the horror-comedy universe of Stree. In this narrative, the role is reversed, and the villain is Sarkata (headless monster) who abducts only the progressive women of Chanderi. The act seems like a literal extension of what we see around us. There is a scene where the womenfolk request Rajkumar Rao’s character Vicky (a talented tailor) to stitch up fully covered outfits. However archaic the scene may seem in the modern realm of things; it is still a hard reality for many women in small towns.

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The film is replete with subtexts. I feel that Sarkata represents a man without mind or inner wisdom. He reconstructs himself more fiercely every time his head or ego is severed. He also transmits his thoughts and makes more heads like himself in the community. Pankaj Tripathi’s character - Rudra in the film, calls Sarkata an influencer.

Drawing parallels with real life isn’t a challenge here – followers follow one of their own and thus their tribe expands. The more one tries to decode this phenomenon in the real world, the more interesting it becomes. And then, the resolution suggests a partnership between men and women to win over the grave concerns of a patriarchal society.

The portrayal of abducted women in the ghostly space is as glaring as it gets. I am not sure if I wanted to see the women in white sarees with shaved heads - not for anything else but for the striking comparisons it draws up. Could this imagery have been different, especially in an unfamiliar supernatural world?

While it is wonderful to see women writing and directing women's fictional stories, it is equally reassuring to find male filmmakers creating women's characters and sketching them well in their story world - with the right perspective and empathy.

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There is a scene in the film where the women of Chanderi, dressed in sarees, step out of their houses to reclaim the night. I would have liked a long take of the shot in the film – longer than what’s there right now. Those visuals speak louder than dialogues ever could. For me, the scene sums up the film's fundamental message about women reclaiming their agency and lives.

Stree 2&nbsp;has emerged as one of the highest-grossing blockbusters of 2024. Stree 2&nbsp;director Amar Kaushik has previously directed three Bollywood feature films - Stree, Bala and Bhediya.

Kaushik’s technique of layering socially relevant films with hard laughs and satire is clearly resonating with the masses. However, the director’s style isn’t limited to this genre. Kaushik is equally adept at evoking deep emotions in his audiences. A few years ago, I happened to watch his first directorial debut, not a Bollywood film but a short film called Aaba.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-stree-2-review-rajkummar-rao-shraddha-kapoors-film-expands-its-universe-abhishek-banerjee-shines-750376">Stree 2 review: Rajkummar Rao, Shraddha Kapoor's film expands its universe, Abhishek Banerjee shines</a>

Set in a remote village in Northeast India, Aaba is a meditative exploration of death through the perspective of a young girl. The film moved me and left me feeling both numb and reflective. In 2016, Amar Kaushik won ‘Best Short Fiction Film’ at the 64th National Film Awards for Aaba.

From Aaba to Stree 2, Amar Kaushik’s meteoric rise is a testament to his honest storytelling and intentions, reflected in all his projects.

And, in Kaushik’s current Stree universe, Stree(s) will always remain safe. Stree is aware of her rights, and if a man wrongs her, she will fight back – with or without her ponytail.

Disclaimer: The writer's views do not represent those of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.

Disclaimer: This piece is a spoiler-laden reading of the recently released Bollywood film Stree 2. It may spoil your viewing experience if you haven’t seen the film yet.

Disclaimer: This piece is a spoiler-laden reading of the recently released Bollywood film Stree 2. It may spoil your viewing experience if you haven’t seen the film yet. Reader discretion is advised. My mind felt heavy and clouded as I entered the theatre to watch Stree 2. I was disturbed, shaken, and baffled, seeing the proceedings of the horrific Kolkata rape-murder case. I was filled with anger and many questions. That was the backdrop. And, it did significantly affect my film-watching experience. In one of the more powerful scenes in Stree 2, Stree encounters the headless monster Sarkata on the battlefield and kills him. The drama is intense and inspiring, showing the lone ghunghat-clad female fighting off her attacker. While the combat ends, its underlying message remains. It is about the inherent threat that women face daily in the public sphere – workplaces, public transport, education centres etc. She is not safe walking alone at night. She is not safe working late into the night at her workplace. She doesn’t feel protected even at home if her partner or a male member isn’t the right kind. Then, where exactly is she (Stree) safe? That, I feel, is the film's overarching theme – women's safety. Unlike its terrific predecessor Stree from the Maddock Supernatural Universe, Stree 2 delves into a more realistic depiction of the state of women's safety in India. Seeing the horrors of a patriarchal society unfold on the screens, is a bit too much to bear, to be honest. But the question is - can we escape the stark reality on screens? An even bigger question is – should the filmmaker choose to show reality as is or set the tempo a notch higher by creating a world that’s ideal yet imaginary? Director Amar Kaushik does both deftly. In the first instalment of Stree, Kaushik and writers - Raj Nidimoru and Krishna DK set up quite a unique premise where a female spirit threatens the men of the small town of Chanderi and abducts them. And, the men are scared stiff of this female ghost. They dress up in sarees, lock themselves up and request their wives to protect them. We also see women freely roaming around in the town. Talk about dismantling and subverting patriarchal structures and these powerful scenes come to mind. In the sequel, Kaushik and writer Niren Bhatt bring elements of magical realism into the horror-comedy universe of Stree. In this narrative, the role is reversed, and the villain is Sarkata (headless monster) who abducts only the progressive women of Chanderi. The act seems like a literal extension of what we see around us. There is a scene where the womenfolk request Rajkumar Rao’s character Vicky (a talented tailor) to stitch up fully covered outfits. However archaic the scene may seem in the modern realm of things; it is still a hard reality for many women in small towns. The film is replete with subtexts. I feel that Sarkata represents a man without mind or inner wisdom. He reconstructs himself more fiercely every time his head or ego is severed. He also transmits his thoughts and makes more heads like himself in the community. Pankaj Tripathi’s character - Rudra in the film, calls Sarkata an influencer. Drawing parallels with real life isn’t a challenge here – followers follow one of their own and thus their tribe expands. The more one tries to decode this phenomenon in the real world, the more interesting it becomes. And then, the resolution suggests a partnership between men and women to win over the grave concerns of a patriarchal society. The portrayal of abducted women in the ghostly space is as glaring as it gets. I am not sure if I wanted to see the women in white sarees with shaved heads - not for anything else but for the striking comparisons it draws up. Could this imagery have been different, especially in an unfamiliar supernatural world? While it is wonderful to see women writing and directing women's fictional stories, it is equally reassuring to find male filmmakers creating women's characters and sketching them well in their story world - with the right perspective and empathy. There is a scene in the film where the women of Chanderi, dressed in sarees, step out of their houses to reclaim the night. I would have liked a long take of the shot in the film – longer than what’s there right now. Those visuals speak louder than dialogues ever could. For me, the scene sums up the film's fundamental message about women reclaiming their agency and lives. Stree 2 has emerged as one of the highest-grossing blockbusters of 2024. Stree 2 director Amar Kaushik has previously directed three Bollywood feature films - Stree, Bala and Bhediya. Kaushik’s technique of layering socially relevant films with hard laughs and satire is clearly resonating with the masses. However, the director’s style isn’t limited to this genre. Kaushik is equally adept at evoking deep emotions in his audiences. A few years ago, I happened to watch his first directorial debut, not a Bollywood film but a short film called Aaba. Also read: Stree 2 review: Rajkummar Rao, Shraddha Kapoor's film expands its universe, Abhishek Banerjee shines Set in a remote village in Northeast India, Aaba is a meditative exploration of death through the perspective of a young girl. The film moved me and left me feeling both numb and reflective. In 2016, Amar Kaushik won ‘Best Short Fiction Film’ at the 64th National Film Awards for Aaba. From Aaba to Stree 2, Amar Kaushik’s meteoric rise is a testament to his honest storytelling and intentions, reflected in all his projects. And, in Kaushik’s current Stree universe, Stree(s) will always remain safe. Stree is aware of her rights, and if a man wrongs her, she will fight back – with or without her ponytail. Disclaimer: The writer's views do not represent those of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.

The question of Stree’s safety – even in the supernatural world

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