Film Review: JAHANKILLA (Marathi)

Akshaya Kriti Creations’ Jahankilla (U/A; family social drama) is set in the rural heartland of Maharashtra and deals with themes of caste politics, education, and aspirations of children from backward backgrounds.

The story, penned by Nagraj Manjule, revolves around children from a village school who are caught in the crossfire of caste divisions and systemic discrimination. The killa (fort) becomes a metaphor for both pride and oppression. While the subject is relevant and rooted in rural realities, the screenplay is meandering. The narrative oscillates between touching moments of innocence and heavy-handed social commentary, thereby diluting overall impact.

Dialogues, though grounded, sometimes become preachy. There are heartwarming exchanges among the children, but the confrontations among adults come across as staged.

The child actors are natural and lend authenticity. The performances of the adult cast are mixed — some are effective in portraying rural harshness, others seem theatrical.

Direction by Nagraj Manjule is sensitive in patches, especially in capturing the children’s world and their bond with the land, but his narration lacks the sharpness and consistency of his earlier landmark work Fandry or Sairat. The film often feels like an extended short stretched into a feature.

Music is earthy and folk-driven but not memorable. Cinematography (Sudhakar Reddy Yakkanti) is the biggest plus point — the rural landscapes and the fort are lensed beautifully, evoking mood and atmosphere. Editing is uneven, with stretches that test patience.

On the whole, Jahankilla is a sincere effort but falls short of delivering a hard-hitting cinematic punch. At the box-office, it will cater mainly to niche Marathi audiences who value social-message films; multiplex prospects are limited.