Director Shazia Iqbal’s debut film, Dhadak 2, starring Triptii Dimri and Siddhant Chaturvedi, delivers a powerful and rage-fueled love story that confronts systemic discrimination head-on.
A Bold Vision from a New Director
Shazia Iqbal brings a piercing clarity to the internal rage driving Dhadak 2. Her understanding of the film’s core themes—caste and gender—is channeled through a poignant and devastating portrayal of love.
This isn’t Iqbal’s first foray into identity-driven narratives. She previously directed a 20-minute short film and a 36-minute episode in an anthology series. In both, love serves as both a healing balm and a sharp scalpel, dissecting and exposing societal issues.
For those familiar with her past work, Dhadak 2 feels less like a debut and more like a significant culmination of her artistic journey.
Reimagining, Not Remaking
Dhadak 2 isn’t just a scene-by-scene remake of Mari Selvaraj’s *Pariyerum Perumal*. Instead, Iqbal bravely reimagines the source material. While the basic structure remains, she critically engages with the original, daring to improve upon its shortcomings.
This approach showcases a filmmaker who isn’t simply reverential but thinks critically, adapting the story to resonate with new depths and perspectives.
A Stronger Female Voice Emerges
One notable enhancement in Dhadak 2 is the character of Viddhi, played by Triptii Dimri. Unlike Jo in the original, Viddhi is acutely aware of her privilege within the context of caste and class, a burden that sometimes haunts her.
Viddhi also faces an insidious struggle against familial patriarchy, which disguises itself as protection. In a powerful climax, she confronts her father and uncle directly, a scene designed for blunt, overt truth.
Iqbal understands that subtlety isn’t always effective when confronting harsh realities. Sometimes, the truth needs to be screamed to pierce through apathy, a cinematic language she explored earlier in her short film *Bebaak*.
Unflinching Social Commentary
Dhadak 2 is an intensely furious and political film. It simmers with rage, refusing to apologize for its anger. Unlike its predecessor, it insists on making the unspoken explicit.
The film is rich with direct references to caste, featuring phrases like “Jai Bhim” and visible tributes to figures like Ambedkar, Savitribai Phule, and Jyotiba Phule. Words like ‘jaat’, ‘quota’, and ‘reservation’ are woven into the narrative.
Characters like Shekhar, a Dalit student leader, and Haider Ansari, a Muslim dean, further emphasize the struggle for identity and belonging. The film consistently highlights how belonging is often withheld, denied, and even weaponized.
Love as the Ultimate Antidote
Despite its anger, Shazia Iqbal firmly believes that love is the only true antidote. Dhadak 2 is framed as a love story between Viddhi and Neelesh, rather than just a coming-of-age tale, because love and identity are intrinsically linked.
The transition from romance to social reckoning feels seamless, moving from two young people in love to a confrontation with a world that actively resists that love. This makes the climax particularly impactful, leaving viewers to ponder the characters’ future beyond the credits.
- Dhadak 2 is a reimagining, not a direct remake, of Mari Selvaraj’s *Pariyerum Perumal*.
- Director Shazia Iqbal uses a direct, unflinching narrative style to confront socio-political issues.
- The film explicitly addresses caste discrimination, gender inequality, and familial patriarchy.
- Love is presented as a powerful, transformative force against societal barriers.
Dhadak 2 leaves a lasting impression, compelling its audience to confront uncomfortable truths while championing the profound and redemptive power of love.
