Hunkkaar: The Roar Review: Star Rating:
Cast: Aneet Padda, Fatima Sana Shaikh, Arjun Mathur, Raghubir Yadav, Mohammad Zeeshan Ayyub, and others
Creator: Karan Kapadia
Director: Nitya Mehra & Karan Kapadia
Streaming On: JioHotstar
Language: Hindi
Runtime: 6 episodes of 50 minutes each
Can a minor who is a sexual assault survivor freely eat panipuri at a roadside stall without fearing society? If she attempts to do so, absolute chaos ensues, as depicted in Karan Kapadia and Nitya Mehra’s web series, Hunkkaar: The Roar. Headlined by Aneet Padda and Fatima Sana Shaikh and streaming on JioHotstar, the show once again tackles the themes of sexual abuse and its deep ties to godmen. However, viewers must wait through all six episodes to see if it brings anything fresh to the table.
While Hindi cinema has clearly tackled the courtroom drama genre and this premise successfully on a couple of occasions—or even more if one counts all seasons of Bobby Deol’s Aashram. His character, Baba Nirala, bears a strong resemblance to Yash Raj Films’ Maharaj and Apoorv Singh Karki’s Ek Bandaa Kaafi Hai, which was based on the trial involving Aasaram Bapu and the rape of a 16-year-old girl.
These three distinct takes on sexual assault crimes committed by godmen closely mirror Hunkkaark: The Roar. All four narratives share two primary similarities: a spiritual leader commanding a faith-blinded community, and a woman who courageously challenges his predatory behavior through legal channels. The execution and narrative framing are what set these stories apart. Ek Bandaa Kaafi Hai functioned as an intense courtroom drama, whereas Maharaj served as an intense social drama. Aashram focused on law and order while illustrating the operational framework of a crime-ridden cult. Consequently, the question remains whether Nitya Mehra and Karan Kapadia’s production offers a distinct perspective.
Hunkkaar: The Roar Review: What’s It About:
The premise establishes itself within the opening five minutes. Set in a fictional Madhya Pradesh town, 17-year-old Meenu Rawat (Aneet Padda) visits a police station to file an FIR against Baap Ji (Raghubir Yadav), the spiritual figure who dominates the area. Investigating officer Jasleen Singh Soni (Fatima Sana Shaikh) is assigned to the case. What unfolds transcends a standard police inquiry, developing into a complex struggle where faith, social influence, media framing, and the justice system collide against the untouchable public persona of a godman. Though built upon a compelling foundation, the narrative spans six episodes to fully detail the young girl’s ordeal.
Hunkkaar: The Roar Review: What Works:
The sole sequence that justifies the series’ creation occurs when Meenu steps up to deliver her testimony. During this rare moment, the writing, direction, and acting achieve complete harmony. Padda strips her character down to a raw, unprotected state, briefly fulfilling the promise of the show’s title. Despite the strong writing, this impact fades quickly—largely because Aneet struggles to maintain consistent intensity, and the background music fails to capture the vulnerability of the narrative. Although Karan Kapadia and Nitya Mehra construct a robust plot, they introduce no novel ideas beyond what has already been explored regarding the subject.
The script shows flashes of brilliance, particularly when Padda’s Meenu delivers her final statement, pleading, “13 baar bata chuki hun, lekin koi sun hi nahi raha!” She expands on her trauma, stating, “Main kyun bataaun ki mujhe kahan kahan chhua, kitni der tak chhua!”
Hunkkaar: The Roar Review: Star Performance:
Aneet Padda delivers a compelling, complex portrayal, avoiding simplistic labels as either a flawless victim or a broken individual. Padda’s performance has the potential to grant Meenu the dignity that the script strives for, even if it falls slightly short.
Fatima Sana Shaikh approaches Jasleen not as a crusading heroine, but as a professional managing institutional barriers with measured frustration. This controlled approach lends credibility to the investigative arc that the text alone does not always secure.
Raghubir Yadav maintains an unsettling composure as Baapji that avoids cartoonish villainy. His quiet magnetism makes him disturbing; audiences may hate him and feel helpless, yet still recognize his screen presence. Conversely, Mohammad Zeeshan Ayyub leaves little impression in his role as the lawyer.
Ram Kapoor commands every frame of his brief appearance, earning admiration through his impactful final scene. Arjun Mathur (portraying a journalist) and Zoya Siddiqui (playing a loyalist) are given peripheral roles that function merely as filler.
Trending
Hunkkaar: The Roar Review: What Doesn’t Work:
The primary flaw of Hunkkaar is its lack of originality within a framework extensively explored by Aashram, Ek Bandaa Kaafi Hai, and Maharaj. The core beats—a minor accusing a spiritual leader, community backlash, the weaponization of faith against evidence, and political interference halting investigations—follow a familiar path previously executed with greater depth in comparable titles.
Pacing is another drawback. A six-episode season handling such heavy subject matter should maintain urgency, yet the story frequently lags and lingers on scenes that outstay their welcome. Additionally, the character backstories—ranging from Fatima Sana Shaikh’s to Arjun Mathur’s—fail to add meaningful value to the series.
While the show’s intentions are noble in questioning why survivors must justify themselves while sheltered elites retain their status, good intentions do not equate to originality. The screenplay lacks a unique structural identity to separate it from its predecessors. Elements of courtroom and media trials remain underutilized, offering only brief glimpses of the conflict between public opinion and legal procedure without substantial depth.
Hunkkaar: The Roar Review: Last Words:
Hunkkaar: The Roar ultimately falls short of making a thunderous impact, staying afloat almost entirely on the back of Aneet Padda and Fatima Sana Shaikh’s acting. The project could have achieved significantly better results with a more inventive perspective.
In one sequence, Mohammad Zeeshan Ayyub’s lawyer advises Aneet Padda’s Meenu, “Never apologize for being correct. If you are right and you know it, speak your mind. Even if you are a minority of one. The truth is still the truth!” This sentiment serves as a missed opportunity for a truly powerful narrative.
3 stars!
For more web series reviews, stay tuned to Koimoi.
Must Read: The Revolutionaries Review: A Gadar Re-Telling Of A Freedom Movement That Never Got A Chance To Shine Amidst The Gandhi-Nehru Saga – Story Of The Lost Heroes!
Follow Us: Facebook | Instagram | Twitter | YouTube | Google News
