Gandhari (2026): Taapsee Pannu’s Grit Can’t Mask A Familiar Thriller
There is a moment in Gandhari where Bani, played by Taapsee Pannu, shifts from being a protective mother to a cornered animal, and you can see the calculation drain from her eyes. It is in these flashes that the film hints at the ferocious maternal thriller it could have been, before it settles for something far more conventional.
Directed by Devashish Makhija and written by Kanika Dhillon, this Netflix action-thriller is a one-time watch at best, powered by a committed lead but undone by a screenplay that mistakes noise for tension.
Taapsee Pannu’s Physical Commitment Is The Film’s Only True Asset
Pannu has built a career on playing women who snap under pressure, and Bani fits that mould. She brings a wiry, desperate energy to the role, making the maternal sacrifice angle feel lived-in rather than performed.
Her scenes with Ishwak Singh as Gokul suggest a dynamic that the film never fully explores. The chemistry is there, but the writing keeps them at arm’s length, reducing what could have been a complex partnership to a functional one.
Makhija’s Direction Gets Lost In The Noise
Devashish Makhija knows how to shoot grit; his earlier work proves he can find poetry in squalor. But here, the direction feels restrained, as if the streaming format has sanded down his sharper instincts.
The screenplay’s biggest flaw is its reliance on tricks. The Times of India review, which gave the film 2 stars, essentially argued that there are too many narrative sleights of hand and not enough actual dread to justify them.
The Thriller Core: A Familiar Engine With A Broken Clutch
The premise of a mother pushed into violence to protect her daughter is as old as cinema itself, and Gandhari does nothing to reinvent that wheel. The film relies on the emotional weight of its central hook rather than building a procedural framework that keeps you guessing. When the threat level rises, the film responds with volume instead of precision, diluting the very tension it needs to survive.
Cinema Express noted that the film feels “too familiar in its gaze, ” and that observation cuts to the bone of the problem. The action sequences are functional but lack the geographic clarity that makes a set-piece sing. You never quite feel the geography of the spaces these characters inhabit, which makes the chase and combat scenes feel like they are happening in a vacuum. The mystery element is similarly undercooked, offering reveals that land with a shrug rather than a shock.
What saves the middle stretch is the sheer conviction of the cast. Even when the plot circles back to familiar territory, the actors sell the stakes hard enough to keep you invested. It is a testament to their professionalism that the film remains watchable even when the logic strains.
Mita Vashisht, Swastika Mukherjee, And Chhaya Kadam Anchor The Margins
Mita Vashisht as Jhunu Amba brings a weathered authority to her brief scenes, suggesting a history that the film regrettably skims over. Her presence signals a world of female solidarity that the plot never quite cashes in on.
Swastika Mukherjee and Chhaya Kadam are similarly underutilised. Mukherjee’s Churni Didi has a sharpness that cuts through the murk, while Kadam’s Uma Didi brings the earthy pragmatism she does so well. Their casting signals an intent to build a textured female ecosystem, but the screenplay leaves them as flavour rather than function.
Prashant Narayanan as Dada is the kind of menacing presence that usually elevates this genre, but the role is written too thinly for him to leave a mark. Chandan Roy and Jatin Sarna round out the ensemble without adding much beyond familiarity.
If you are looking for more gripping tales of survival against the odds, our collection of Hindi Thriller reviews has plenty of options that deliver the tension this one misses.
The Verdict: A One-Time Stream For Pannu Fans Only
There is a version of Gandhari that trusts its audience to follow a mother’s moral descent without needing a twist every ten minutes. This is not that version.
I found myself wishing the film had borrowed more from the taut restraint of Makhija’s earlier work rather than the generic gloss of streaming-era action. The runtime of 2 hours and 2 minutes feels longer than it should, a sign that the editing could have been far more aggressive.
For those who simply want to see Taapsee Pannu carry a film on her shoulders, this works well enough as a lazy Sunday afternoon watch. For anyone seeking a thriller that respects your intelligence, the tricks will wear thin before the credits roll. Watch it on Netflix if you must, but keep your expectations in check.
If you enjoyed Pannu’s commitment here, you might find similar steel in her work on I m review, which explores a different kind of relentless pursuit.
Gandhari is a film that mistakes complexity for depth, and while Pannu’s grit is undeniable, it cannot compensate for a script that runs on fumes. I am going with a generous 2 out of 5, strictly for the lead performance and the always-reliable supporting cast.
For a sharper take on survival horror with a similar emotional undercurrent, check out Immortal verdict.
Ankit Jaiswal is the Chief Author, covering Indian cinema and OTT releases with honest, no-filler criticism. An SEO strategist by background, he brings a research-driven approach to film writing, cutting through hype to tell you exactly what's worth your time.
