Bhakshak exposes the social evils in our contemporary, limelight-driven society

Bhakshak (Predator) packs a punch through its fictitious yet very deliberate resemblance to a harrowing 2018 case that shook the nation. It depicts that the truth we are all after may well hover above the edge of an unfathomable and ominous reality. 

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IN its portrayal of the plight of women, Bhakshak emerges as a powerful film that underscores the detrimental impact of government-backed support systems, revealing the perpetuation of suffering and marginalisation in a patriarchal society.

The Netflix original offers a grim and authentic portrayal, albeit with some fictional elements, of the notorious 2018 case of child sexual abuse at a girls' shelter home in Muzaffarpur, Bihar.

The scandal was uncovered through a social audit conducted by the Mumbai-based Tata Institute of Social Sciences, which revealed appalling crimes committed by the owner of a nongovernmental organisation managing the shelter home funded by the Bihar Social Welfare Department.

At the film's outset, a man attempts to assault a girl forcibly taken from an orphanage. When she resists his advances, he callously applies chilli powder to her genitals. As the narrative progresses, the shelter home's inability to save her leads to her tragic murder. This chilling scene epitomises the profound meaning behind the film's title, Bhakshak.

In the subsequent scenes, the film introduces its main characters: Vaishali Singh, an aspiring TV journalist aiming to establish her own successful TV channel, portrayed by Bhumi Pednekar; Bashkar Sinha, a rookie cameraman dedicated to his craft, played by Sanjay Mishra; and Bansi Sahu, a seasoned journalist with deep political connections, depicted by Aditya Srivastava.

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Vaishali and Bashkar, spurred by the social audit report, launch their own investigation despite Bansi Sahu's opposition. Facing intimidation tactics from Sahu's associates by involving Vaishali's husband and inviting them to his home, Bashkar proposes selling the news clip to a larger channel to mitigate their troubles.

Despite these hurdles, Vaishali remains resolute, driven by empathy for the girls' suffering and determined to hear their stories firsthand. Her persistence pays off when a former cook from the Munawarpur shelter agrees to share her experiences confidentially and safely, having found employment at the Hajipur shelter.

Through these scenes, the film firmly establishes its women-centric perspective and highlights the various sufferings women endure.

It is crucial to underscore that while the film primarily centres on the sexual assault of girls at the Munawarpur women's shelter home, it also explores the experiences of other women, particularly those who are married and childless.

Director Pulkit addresses this theme in a poignant scene where Vaishali Singh returns home late at night after being pursued all day by Banshi Sahu's goons. Despite her ordeal, she is immediately expected by her husband to prepare food, highlighting the societal expectations placed on married women.

Further, the film delves into the social discomfort experienced by married, childless women through Vaishali's verbal debates with her brother-in-law and sister.

Vaishali continues her investigation, while Guptaji, the source of the social audit report, discreetly files a public interest litigation to advance the case.

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In Munawarpur, the new female senior superintendent of police, Jasmeet Kaur (Sai Tamhankar), earns recognition for her integrity. Vaishali and Bhaskar approach Kaur, stressing the gravity of the situation.

Despite political influence, Kaur pledges action upon concrete evidence, which Vaishali eventually secures, leading to Sahu's arrest with Kaur's assistance.

The film underscores the irony of public institutions as the head of the Children Welfare Commission involved in the assault oversees the inquiry.

The film concludes with a powerful monologue by Vaishali Singh, condemning today's society for its loss of empathy in the social media-driven world, where people have become more self-centred, and justice has been forsaken.

She asserts that society has become the very destroyer of itself, losing sight of justice and empathy, hence becoming the 'bhakshak'.

The film's commendable qualities shine brightly on multiple fronts, yet it maintains a singular focus, tethered to one case throughout its entirety. However, it deserves immense praise for bravely tackling the persistent issues entrenched in our male-centric society through this compelling case study.

Upon viewing, satisfaction washes over, buoyed by its resonant monologues that firmly assert its moral principles, and appeal to the passive masses entrenched in today's social media-driven living.

It is saddening to see its release solely on an over-the-top(OTT) platform, especially when contrasted with the wide theatrical release and subsequent box office triumph of films like Animal (based on violent toxic masculinity), a testament to our society's skewed priorities and lack of seriousness toward enduring societal maladies.

This prevailing trend underscores a glaring disparity, where potent societal narratives like Bhakshak in Bollywood often wilt in the shadows, lacking the star power or grandiose production allure that catapults to grand box office success.

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Films of paramount social importance, beyond the tireless efforts of actors like Ayushmann Khurrana or the directorial prowess of Anubhav Sinha, are relegated to mere formalities.

The depiction of marginalised groups— women, Schedules Castes and Scheduled Tribes— failing to ignite the fervour of box office success or public discourse is the narrative rooted in the apathy toward social realities.

The lack of factors such as star power, production buzz and theatrical release behind these movies serves as a poignant reflection of our society's broader disengagement from critical societal engagements. 

Bhakshak stands as a stark reminder, cutting through the spectacle of light and sound to expose the glaring societal evils that persist in our contemporary times.