.jpg)
*Dhadak 2* emerges as a bold and uncompromising exploration of caste-based discrimination in modern India, marking a significant departure from Bollywood's typically sanitized treatment of social issues. Directed by Shazia Iqbal and starring Siddhant Chaturvedi and Triptii Dimri, this spiritual sequel to the 2018 film serves as a Hindi adaptation of Mari Selvaraj's acclaimed Tamil film *Pariyerum Perumal* (2018). The film has garnered critical acclaim for its unflinching portrayal of systemic oppression while receiving a 3.5 out of 5 rating from critics, who particularly praised Siddhant Chaturvedi's transformative performance and the film's courage in addressing uncomfortable truths about Indian society. Released on August 1, 2025, after facing significant censorship challenges, the film represents a watershed moment for mainstream Hindi cinema's engagement with caste issues.
.jpg){kind=link}
Plot and Narrative Structure
The narrative centers around Neelesh (Siddhant Chaturvedi), a young Dalit law student from Bhopal's economically disadvantaged Bhim Nagar area, who aspires to become a lawyer to fulfill his mother's dreams and elevate his family's social standing. The film opens with Neelesh performing as a drummer at weddings with the Bhim Baaja Dhol Boys, establishing his working-class background and the socioeconomic barriers he faces. When he enrolls at the fictional National University of Law, he encounters Vidhi Bhardwaj (Triptii Dimri), an upper-caste girl from a privileged family of lawyers, setting the stage for a relationship that becomes a catalyst for exposing deep-rooted casteist structures.
The film's setting in Bhopal, Madhya Pradesh, serves as more than mere backdrop—it represents the urban face of caste discrimination that persists beyond rural boundaries. Director Shazia Iqbal deliberately chose this urban context to challenge the common misconception that caste is primarily a rural phenomenon, demonstrating how it operates in supposedly progressive spaces like law colleges and middle-class neighborhoods. The opening sequence featuring the grand Raja Bhoj Statue on the Upper Lake establishes the historical and cultural context while hinting at the film's larger message about power, resistance, and dignity.
Unlike its predecessor *Dhadak*, which was criticized for glossing over caste issues present in the original Marathi film *Sairat*, *Dhadak 2* refuses to soften its edges or provide easy answers. The narrative structure deliberately mirrors the systematic oppression that Dalits face in Indian society, with Neelesh's journey from hope to humiliation to eventual resistance reflecting the broader struggle of marginalized communities seeking equality through education and legal empowerment.
Performances and Character Development
Siddhant Chaturvedi delivers what critics unanimously consider his finest performance to date as Neelesh, moving decisively away from his usual urbane screen persona to embody the vulnerability, determination, and quiet dignity of a young man caught between aspirations and societal prejudices[8]. His portrayal captures the internal conflict of someone who must constantly navigate between asserting his identity and ensuring his survival, with critics noting how "Siddhant Chaturvedi shines in this poignant and relevant story". The actor's transformation—both physical and emotional—demonstrates his commitment to the role, presenting Neelesh not as a conventional hero but as a complex individual whose strength emerges from his struggles[8].
Triptii Dimri brings depth and authenticity to Vidhi, a character who could have easily become a one-dimensional privileged ally. Instead, Dimri presents Vidhi as someone whose journey of awakening to systemic oppression feels genuine and earned, with her character arc from unconscious privilege to active resistance handled with remarkable nuance. Critics have praised her for being "fiery as Vidhi Bhardwaj, an inquisitive upper caste aspiring lawyer who has been allowed a lot of freedom by her lawyer father". Her performance effectively demonstrates how privilege can be both a barrier to understanding and a tool for change when properly wielded.
The supporting cast contributes significantly to creating a believable world where caste operates as both an invisible and omnipresent force. Saurabh Sachdeva delivers a particularly chilling performance as Shankar, a self-appointed enforcer of caste hierarchy who commits murders in the name of "social cleansing". His portrayal is effective because he doesn't present Shankar as a cartoonish villain but as someone who genuinely believes he's performing a righteous duty, making the character far more disturbing and realistic.
Direction and Technical Excellence
Shazia Iqbal, making her feature film debut after her award-winning short film *Bebaak* (2019), brings her keen understanding of social justice issues to this larger canvas. Her direction is marked by an unwavering commitment to authenticity and a refusal to compromise on the film's difficult subject matter. Iqbal's background as a production designer is evident in the meticulous attention to detail in creating the distinct worlds that Neelesh and Vidhi inhabit—from the cramped quarters of Bhim Nagar to the spacious environs of upper-caste privilege.
The director's approach to adapting *Pariyerum Perumal* for a Hindi audience involved significant cultural transposition, moving from the specific context of Tamil Nadu's caste dynamics to the different but equally complex social hierarchies of Hindi-speaking India. Writers Rahul Badwelkar and Shazia Iqbal "have done an amazing job in coming up with a film that is not here to please anyone," crafting a narrative that maintains the emotional core of the original while making it relevant to its target audience. The film demonstrates that "caste is everywhere, not just in rural India," as Iqbal herself has stated.
The film's cinematography and production design effectively capture the contrast between different social worlds, using visual language to reinforce themes of inclusion and exclusion. The college sequences, shot with careful attention to spatial dynamics, show how Neelesh occupies different spaces compared to his upper-caste classmates. The authentic recreation of both aspirational middle-class environments and working-class neighborhoods helps ground the film's social commentary in recognizable reality.
Social Commentary and Contemporary Relevance
*Dhadak 2* arrives at a moment when conversations about caste in India have gained new urgency, particularly in educational institutions and urban spaces. The film's release, coinciding with real-world incidents of caste-based violence, underscores its relevance and timeliness, with one review noting that "the movie hit the screens days after the alleged honour killing of 23-year-old Dalit techie from Chennai who was reportedly targeted for being in an inter-caste relationship". This timing lends additional weight to the film's unflinching portrayal of how caste operates in supposedly meritocratic institutions like law colleges.
The film's treatment of the reservation system and affirmative action policies is particularly noteworthy, avoiding simplistic debates about merit versus equity. Through Neelesh's experiences, the movie demonstrates how reservation alone cannot address the social and psychological violence that accompanies caste-based discrimination. The narrative shows educational institutions as spaces where caste hierarchies are both challenged and reinforced, with Neelesh facing discrimination despite his academic merit.
One of the film's most powerful elements is its portrayal of systemic oppression through individual actions, particularly through Saurabh Sachdeva's character Shankar. Rather than presenting him as an aberration, the film shows how his beliefs and actions are supported by broader social structures, helping audiences understand that caste-based violence isn't the product of individual pathology but of systemic issues requiring structural solutions. The film includes references to real incidents like the Rohith Vemula suicide, connecting fictional narrative to documented instances of caste-based persecution.
Production Challenges and Censorship Issues
*Dhadak 2*'s journey to the screen was marked by significant challenges with the Central Board of Film Certification (CBFC), which demanded 16 cuts before granting the film a U/A certificate[8]. These modifications included changes to dialogues, removal of caste-specific terminology, and alterations to violent scenes, sparking debates about artistic freedom and the state's role in regulating content that addresses sensitive social issues. Key changes included softening a dialogue from "3,000 years of backlog will not be cleared in just 70 years" to "The backlog of age-old discrimination will not be cleared in just 70 years".
The censorship process also involved muting caste slurs like "chamar" and "bhangi" and replacing them with generic terms like "junglee," as well as removing scenes depicting urination as a form of humiliation. According to reports, "Discriminatory words such as 'chamar' and 'bhangi' have been muted and replaced with 'junglee'". Additionally, "Dalit writer Om Prakash Valmiki's poem *Thakur Ka Kuan* (The Thakur's Well) was reportedly dropped, as also was a couplet by Tulsidas".
Despite these cuts, critics note that the film's core message remains intact, testament to the strength of the underlying material and the filmmakers' commitment to their vision[8]. The modifications may have diluted some impact, but the film still manages to deliver its social commentary effectively, with one reviewer noting that "even after the CBFC cuts, the message comes through". The censorship battle itself became part of the film's larger conversation about freedom of expression and the representation of marginalized voices in mainstream cinema.
Critical Reception and Box Office Performance
Critical reception for *Dhadak 2* has been generally positive, with reviewers praising the performances, direction, and the film's willingness to tackle difficult subjects. The Times of India gave the film a 3.5 out of 5 rating, with critics particularly appreciating Siddhant Chaturvedi's performance and the film's social relevance. NDTV's review noted that the film "unsettles you, doesn't pull any punches on caste violence," awarding it 3 stars while acknowledging its unflinching approach to sensitive subject matter.
However, the film has also faced mixed reactions from audiences, particularly on social media platforms. While some viewers praised the film's bold representation and raw portrayal of reality, others criticized it as an inadequate remake of the superior Tamil original. One social media user noted that "Dhadak 2 is better than the original in terms of giving the female lead a voice," while another advised viewers to "watch [Pariyerum Perumal] instead of wasting your time on this boring remake".
The film's box office performance reflects the challenges of marketing socially conscious cinema to mainstream audiences, particularly when dealing with uncomfortable truths about Indian society. Opening day collections were modest, placing it among middle-tier releases of 2025, though the film's impact extends beyond commercial considerations to its contribution to important social conversations. Critics have noted that certain elements of the narrative feel rushed and that the film's attempt to address multiple social issues sometimes dilutes its focus.
Conclusion
*Dhadak 2* succeeds in its primary mission of bringing important conversations about caste, privilege, and social justice to mainstream Hindi cinema audiences. While it may not achieve the raw power of its Tamil original due to both censorship requirements and different cultural contexts, it represents a significant step forward in Bollywood's treatment of systemic oppression. The film's greatest strength lies in its refusal to provide easy answers or false hope, instead presenting caste discrimination as an ongoing reality that requires continuous resistance and structural change rather than individual goodwill.
Shazia Iqbal's direction, combined with committed performances from the lead actors, creates a film that lingers in the mind long after the credits roll. Despite its flaws and the constraints imposed by censorship, *Dhadak 2* stands as a bold and necessary work that challenges audiences to confront uncomfortable truths about Indian society. The film demonstrates the potential for mainstream cinema to engage with difficult subjects while maintaining commercial viability, potentially paving the way for more such courageous storytelling in the future.
For Hindi cinema as a whole, *Dhadak 2* represents a mature engagement with social justice themes that could influence future productions. The film serves not just as entertainment but as an educational tool for understanding contemporary caste dynamics in India, contributing to broader conversations about representation, equality, and the responsibility of mainstream media to address systemic inequalities. In a media landscape often accused of avoiding difficult truths, this film stands as a testament to the power of cinema to both disturb and inspire, making it essential viewing for anyone interested in understanding the complexities of modern Indian society.