In India, a case of sexual violence against women is reported every 20 minutes. To remind viewers of this grim reality, the film ‘Assi’ flashes a red screen with the words ‘20 minutes’ at regular intervals, almost as if to shake the audience into remembering the context behind the story. Perhaps this would have been a more fitting ‘title’ for the film itself.

There are five rapists in the film. Two of them are shot dead by a mysterious ‘umbrella man’ who delivers instant justice. But before he can kill the remaining three, he ‘realises’ that violence is not the right path and surrenders himself to the law. What happens to the other three offenders is left unresolved, leaving the audience to decide their fate. Lawyer Taapsee Pannu, however, demands life imprisonment for them.

Read in Hindi: हर '20 मिनट' की चीख और ‘अस्सी’ का सवाल...!

During the 1980s and 1990s, many films ended with the hero or heroine killing four or five rapists, often packaged with heavy doses of ‘masala’, earning them the label of ‘B’ or ‘C’ grade cinema. At first, ‘Assi’ seems to tread the same path. Yet, whenever the film appears to lean toward becoming a typical ‘masala’ entertainer, director Anubhav Sinha pauses and resists. This restraint is what keeps the film serious and compelling.

The film succeeds in stirring emotions, sometimes leaving viewers ‘agitated’, sometimes ‘helpless’. It confronts audiences with the flaws of our own social and judicial systems. Zeeshan Ayyub shines as the ‘helpless husband’ and ‘responsible father’.

Anubhav Sinha, often accused of pushing a particular ‘agenda’ in his recent films, avoids controversy this time. He stays steady, guiding the narrative like a ‘Kewat’. That maturity is commendable. Although some unnecessary remarks during the film’s publicity created the impression of a hidden agenda, something that may hurt its box office performance, the film itself feels unbiased, presenting the subject with clarity and honesty.

Promotions suggested Taapsee Pannu was the central character, but the most crucial role belongs to Kani Kusruti. Taapsee, unfortunately, doesn’t quite look convincing as a lawyer. Kumud Mishra appears younger than ever, while Satyajit Sharma delivers a stronger portrayal of a lawyer. Jatin Goswami and Manoj Pahwa leave a lasting impression. The presence of Seema Pahwa, Naseeruddin Shah, and Supriya Pathak, however, feels unnecessary, perhaps included out of camaraderie rather than narrative need.

The music is forgettable. The film has two songs, neither of which lingers. Swanand Kirkire’s “Maai Teri Yaad…” could have been memorable, but his compositions are beginning to sound repetitive.

Overall, Assi tackles a grave subject without exaggeration or ‘masala’. It is worth watching once, but offers little reason for a second viewing.