For a second if you don’t imagine this to be a film at all, but a compelling conversation; its motive, and indeed its structure, will begin to make more sense to you…

Though Taapsee has little role in the first half, she steers the film in the second half as the resolute and slightly diffident lawyer. Ashutosh Rana, who is so used to playing the villain in films, does come across as a little exaggerated at points, but refined dialogues save him. A special mention to Manoj Pahwa, who portrays Bilal’s painful and emotional breakdown with finesse.

All said and done, Mulk is a voice that needs to be heard. Make time for it this weekend.

‘Mulk gets a lot of things right, including its vision of the country as a place where underneath the punctilious, forced-secular surface there are volatilities waiting to go off…

If there is one thing Anubhav Sinha’s “Mulk” (Nation) gets right, it is the message. The manner of delivery might be deemed a tad simplistic, and the tone bombastic, but the film is clear about what it wants to say. And it today’s times, it is an important message to get across.

After Balraj Sahni in Garm Hava and Kaifi Azmi in Naseem, it’s the turn of Rishi Kapoor as the paterfamilias of a Muslim family to bring out the dilemmas of the community in divisive times

And as I walked away from Mulk, marvelling at its crackling drama, high emotional quotient, its gritty appeal, whistle-worthy dialogues and politics, after a long time I doffed my hat to Bollywood.

Because when mainstream Bollywood begins to get it right, when it finds the strength to articulate what’s right and wrong in a way that sits with audiences for a long time, there is hope.

Any film that does not demonize, that talks of peace and brotherhood, in these dark, cynical times, is to be lauded. Mulk is Anubhav Sinha’s best film, and it concerns us all.

This film takes an important step in defining terrorism and underlining the differences between a suspect and a criminal. It succeeds in intent and purpose, but sadly fails when it comes to storytelling.

Mulk isn’t original cinema, it’s not even its own film, but it’s a much needed reminder and lesson that we live in a secular nation, something that we always strive for.​

Mulk, though, is a reminder that we are all part of that courtroom. Being surprised is a condescending emotion – and inherently a product of our own preconceived notions. It is also a reminder that the right film in this country is often better than a good one. Raazi was an example, but it was perhaps Meghna Gulzar’s Talvar that had already conditioned us expect a skillful take on the rift between mulk and mazhab. In contrast, I came out of Sinha’s film admittedly humbled, and of the belief that verdicts are best delivered after the closing statements.

Shot in the bylanes of small town India, the film captures the milieu it is set in aptly. The music is the weakest link and the soaring and melodramatic background score in some portions is distracting. Mulk focusses on some hard-hitting and burning issues, while also highlighting the crucial role that the media and various other channels of information play in disseminating the right news and facts to its citizens. It also brings to fore the other faces of terrorism which often gets brushed under the carpet.

So, well tried Anubhav Sinha and all the best. But you need to stretch some more to touch the bar that is being set higher with time. 

“Mulk” is a sensitively told sensitizing film that should strike the right note in people with the right sensibilities. In its own way, it is no less patriotic than a “Pad-Man,” “Raazi,” “Raid” or “Parmanu.”

All said and done, Mulk is one such film that will hold your guts till the end. It’ll pinch your soul hard & question your humanity. Stellar performances, mind-blowing climax & superlative narration – this is so far, the best movie of 2018.

Mulk is worth a watch because it focuses on some pivotal issues of the day.