TIFF ’24 Review: ‘Santosh’ finds justice is a tricky concept
‘Santosh’ follows a widow who inherits her husband’s police job and becomes embroiled in an intricate murder investigation.
Cop movies tend to skew in a few predictable directions: fish-out-of-water, buddy cop, lone wolf, undercover operative or corruption exposed. Regardless of the subgenre, there’s typically action and/or suspense, and usually an antagonistic relationship between the protagonist(s) and a superior. From underdog rookies to esteemed heroes, there’s always something bubbling below the surface, whether it’s unfinished business or a monkey on their back. And sometimes, the bad guy wins. In Santosh, a widow assumes her husband’s role on the police force and soon discovers how difficult it is to navigate local politics.
Santosh Saini (Shahana Goswami) married for love, so she’s devastated when her husband is killed in the line of duty, leaving her to deal with her discourteous in-laws. When collecting her husband’s personal effects from the station, she’s informed their home will be reassigned to another member of the force. Desperate for independence, the officer takes pity and informs Santosh of a program in which she can inherit her husband’s position, becoming a constable in the women’s division. When a teenager from a nearby village is raped and killed, Santosh’s determination to solve her case attracts the attention of senior female inspector Sharma (Sunita Rajwar), who is brought in to consult and takes the rookie under her wing.
It’s clear early-on that getting any real police work done will be an uphill battle. The first complaint Santosh helps log results in a backroom beating and a laughing accuser. The second isn’t even recorded as her superiors dismiss the man’s concerns, primarily based on his lower, a.k.a. inferior, caste. When the family of the murdered girl publicly demand justice, the police are forced to take action. However, compared to Santosh’s efforts to find her killer, their attempts are superficial. In this sense, the narrative is a murder mystery as audiences follow the clues alongside Santosh, feeling her frustration each time she reaches roadblock.
However, it’s also a story of corruption. In addition to using the caste system to determine the importance of complaints, there is more than a little reluctance to pursue cases against powerful individuals in the district. It’s also very easy to buy one’s way out of trouble. There’s almost an expectation that officers will accept bribes to turn a blind eye or enforce a punishment against an adversary. Sharma is well-versed in station politics, sitting comfortably with her chauvinist male counterparts, while favouring Santosh and encouraging her to follow her gut… until the truth becomes too detrimental and silence would be more beneficial for everyone.
There’s a journalistic quality to the narrative as it presents the facts and allows audiences to draw their own conclusions. While a lot of behaviour in the film is contemptable, it isn’t designed to villainize anyone but the killer. It’s more interested in shining a light on the complicated workings of India’s rural law enforcement, as well as the influence of local politics and deep-rooted racism.
Santosh had its Canadian premiere in the Centrepiece programme at the Toronto International Film Festival.
Read other reviews from the festival.
Director: Sandhya Suri
Starring: Shahana Goswami, Sunita Rajwar and Pratibha Awasthy
