When the film opens, Dasru Kerketta (Manoj Bajpayee) is serenading his wife Vaano (Tannishtha Chatterjee) as she sways on a swing. The action soon shifts to Mumbai, where both of them work as construction labourers. A politician from his Jharkhand village is in the area, distributing free saris, and recognises Dasru. Soon Dasru is attacked—the attack results in two deaths—so he is on the run again—back to his village, this time with his three-month-old infant Joram, and chased by Mumbai cop Ratnakar Bagul (Mohammed Zeeshan Ayyub). A flashback reveals that Dasru is one of many tribals trapped between the state and rebels, and forced to take sides: he is a former rebel who has given up the gun, but cannot escape his past, so he had fled to the anonymity of Mumbai—but now, flees home again.

We see how politicians in cahoots with big corporations, through Operation Green Hunt, controlling the police and media, try to “exterminate” local rebels, labelled Maoists/Naxalites, who are primarily defending the land, water and jungle from capitalist greed.

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Makhija’s empathy for the marginalised continues. While the aata majhi satakli rage of Cycle, Ajji and Bhonsle has sublimated into a more accessible film, the direction remains sophisticated and nuanced. He moves beyond revenge and seems to offer hope. Manoj Bajpayee (Dasru) is remarkable. Mohammed Zeeshan Ayyub (Bagul) is excellent; Jacky Bhavsar (Muchaki) is terrific; Megha Mathur (Bidesi) shines, while Smita Tambe D Dwivedi (Phulo Karma) is all wounded rage.

Makhija’s layered screenplay also explores masculinity and femininity. Dasru embraces his feminine side: he gives up the gun; he is vulnerable and tender as a single parent to a tiny baby; he is comfortable wearing hairpins and flowers in play. By contrast, Makhija shows both a powerful woman politician, whose grief has turned fearsome, as well as powerful women in grassroot militias. Piyush Puty’s cinematography elevates the film to another level. His frames have layered lighting, and there’s an early, heart-stopping shot in which Vaano, swaying on her swing, simply swings out of frame and prophetically disappears, as the camera remains still on the tree trunk. Abhro Banerjee’s editing keeps it brisk; Mangesh Dhakde’s music and Dhiman Karmakar’s sound design are effective. Special mention for Makhija’s brilliant English subtitling. It’s a Makhijafilm production, produced by Zee Studios, Anupama Bose and Devashish Makhija. Women crew include producer Anupama Bose and Zee Creative Head Ashima Avasthi Chaudhuri.

Killers of the Flower Moon asks, “Can you find the wolves in this picture?” Joram asks the same question too, and holds up a mirror—and it’s us as well.

Meenakshi Shedde is India and South Asia Delegate to the Berlin International Film Festival, National Award-winning critic, curator to festivals worldwide and journalist. 
Reach her at meenakshi.shedde@mid-day.com