Through the history of film, men in white and black have fought for and against justice. A MAN’s world is clearly defined until the ambiguous women silently oppressed around him start gaining visibility. Blood drips but the blood stains are washed off.
Raat Akeli Hai, an investigative crime thriller exposes darkness concealed behind a garb of femininity. The trailer sees Nawazuddin Siddiqui and Radhika Apte, fighting a war for proof, in a world that both belittles and underestimates women.
Reminiscent of Bulbul, Netflix is set to release another dark mystery, on July 31st directed by Honey Trehan. It stars Aditya Srivastava, Shweta Tripathi, Ila Arun, Khalid Tayyabji, Shivani Raghuvanshi and Tigmanshu Dhulia alongside Nawazuddin Siddiqui and Radhika Apte. The movie promises violence and angst, motivated crime, envy and despair, all seasoned by a suppressed eroticism.
Your secrets are not always yours to keep.
Raat Akeli Hai premieres July 31. @Nawazuddin_S @radhika_apte @battatawada #ShivaniRaghuvanshi @dirtigmanshu
Produced By @RonnieScrewvala Directed By @HoneyTrehan@RSVPMovies @MacguffinP @netflixindia #RaatAkeliHai pic.twitter.com/69hqAKlNPY
— Radhika Apte (@radhika_apte) July 17, 2020
On the edge of our seats the trailer leaves us hung in midair, as chains tighten around the narrative. The smell of fear intrudes, and we slowly suspect intimate relations of the deceased to be his very killers.
We wonder if the murdered man is not a victim, but a perpetrator of his own destruction.
Left questioning the structure of existence, we are brought before the institutional weaknesses borne by women. They serve as mere ornamental garments strung around a masculine ego like the lights that decorate Thakur Raghubeer Singh’s house. Is he a man murdered by his plotting wife and lover, or a victim of another man’s fired gun?
The suspicious buildup leaves us confused, as a determined Siddiqui chases his leads.
Why did his wife hint that a man like Raghubeer is not hated but envied? Do the women who destroy him hate his oppression, or desire instead to possess his power? Do the suppressed fight for freedom or crave rather the blood and power of their oppressors.
The trailer leaves us breathless as we run marathon deep into the caves of masculine wealth. We wonder who to vouch for, is it the stoic aggressive detective, or women, who seem neither evil nor good, not trapped or free. Do we pity more a dead bird, or a caged bird?