Satluj: Honey Trehan-Diljit Dosanjh's film on Punjab's darkest chapter is devastating, impossible to look away from

Honey Trehan's film Satluj conveys the harrowing story of human rights activist Jaswant Singh Khalra, with exceptional performances and a gripping narrative, The finest films don't offer easy answers. They provoke and, at times, force us to deal with uncomfortable truths. Satluj is one such film, revisiting one of the darkest chapters of our past while holding up a mirror to a society that still bears the scars. Diljit Dosanjh in Satluj. One hears that the film, originally titled Panjab'95, had remained stuck with the Censor Board for years. After watching it, the reason becomes painfully obvious. The subject matter is uncompromisingly hard-hitting. It explains the delay, but it certainly doesn't justify it. That the makers have finally managed to release it without a single cut is remarkable. The story is based on the life of human rights activist Jaswant Singh Khalra, (played by Diljit Dosanjh ), and the extrajudicial killings that took place in Punjab during the 1990s as the police cracked down on terrorism. For viewers unfamiliar with this dark chapter of India's history, the facts are likely to be shocking. Around 25,000 unidentified people, many of whom had either disappeared or were declared killed in police encounters, were cremated illegally. Jaswant, a bank director, is compelled to take the disappearances to the Court after someone he knows goes missing. What follows is gut-wrenching. The system, the police, everyone tried to suppress his voice, one that refused to die down and instead resonated worldwide. Honey Trehan's direction is restrained, never resorting to melodrama despite the emotionally explosive subject matter. He allows the horrors to speak for themselves, making the film even more unsettling. The screenplay, co-written by Trehan alongside Niren Bhatt and Utsav Maitra, maintains a consistent rhythm across a runtime of over three hours. Even as the narrative navigates legal proceedings and disturbing facts, it rarely loses grip, unfolding with the tension of a political thriller. K.U. Mohanan's cinematography lends Satluj a sense of dread, as though hope long abandoned the world it inhabits. The visuals are steeped in darkness, with a muted colour palette that mirrors the film's emotional landscape. Every frame feels heavy with uncertainty. Equally effective is the decision to shoot at real locations instead of recreating them on studio sets. That choice adds a layer of authenticity. The makers ensure that the first half is every bit as compelling as the second. While the opening hour establishes the emotional and political stakes, the latter half gains momentum with the entry of Arjun Rampal as CBI officer Samudra Singh. His arrival injects urgency, ensuring that both halves are anchored by equally effective performances and emotionally charged confrontations. The acting, across the board, is exceptional. I had found Diljit Dosanjh's performance in his recent Main Vaapas Aaunga to be the weakest link. While his presence functioned as a sutradhaar there, it left little lasting impact. In Satluj, however, he completely redeems himself. Delivering a fine performance, he approaches Jaswant Singh Khalra with restraint and conviction. It is this measured approach that makes his portrayal so affecting. Savinderpal Vicky, as cop Surjit Singh Sugga, once again proves why he is among the most natural actors around today. After the web show Kohraa, this is yet another performance that feels effortless. Equally impressive is Kanwaljit Singh as DGP Inderpal Singh Bitta, who emerges as one of the film's biggest surprises. His understated performance adds weight to the narrative whenever he appears on screen. Arjun Rampal is outstanding. Overall, there's something I can never seem to forget: it is said that a person dies twice, once when they take their last breath, and again when their name is spoken for the last time. Satluj fights against that second death. It gives voices to those who were silenced, faces to those reduced to statistics. More importantly, dignity to those who were denied it in life. Some films deserve applause. Satluj deserves silence. The kind of silence that follows when you have just been reminded of the worst of humanity, and of the courage it takes for one individual to stand against it.