I left the cinema, my mouth dry at the end of Pink. This isn’t just an important film, but also excellently made. It’s a giant leap for Hindi cinema, and easily the best film this year.

Pink, perhaps called thus because the colour is girly, subverts it and turns it on its head. In its best bits, the film blazes, its call-to-arms radiating outwards and forcing us to acknowledge uncomfortable truths. It has something to say, and says it with courage and conviction. Gather everyone and go; and while you are at it, spread the word.

This is a solid, terse film that makes its points in mainstream fashion with an appropriate lack of subtlety.

Pink shows what meticulous planning can do to a film. And, of course, Amitabh Bachchan’s enigmatic persona will guide you through the darkness. Not to be missed at all.

Kudos to writer Ritesh Shah for maintaining such sensitivity while writing the screenplay of the film.

Watching this film should definitely be on your to-do list for the weekend. 

Pink works because the grimness of the material doesn’t weigh on the telling. This isn’t a laboured lecture on women’s rights. Pink is a powerful film that needs to be seen.

Pink is a powerful statement on the existing feudal mindset of a majority of India, where men and women are judged by a different yardstick. And if the man happens to be from a powerful family, then the fight for justice is even more skewed.

Pink is a film every woman and every man must watch. It carries an important message. And even if it changes the mindset of one percent of the country’s population, it’s a big win.

Pink is poignant and powerfully provocative. It is a must-watch for everyone with a blurred vision for modern day women.

Pink, like Madaari, also written by Ritesh Shah, is a film that has the trappings of a thriller to keep the audience guessing about the outcome every minute, while simultaneously engaging them in a conversation about contemporary society. Pink is about the patriarchal mindset which looks at independent women capable of making the same choices as independent, enfranchised men, as ‘loose’ or ‘characterless’.

PINK is a compelling film which exposes hypocrisies and double standards against women in our society. With powerful performances from the starcast, the film leaves you shocked, stunned and speechless. At the Box Office, it will be patronised by the multiplex audiences and the positive word of mouth will translate into healthy footfalls for the movie. Don’t miss this one as it hammers home a very powerful message.

Well acted, well intentioned and inspiringly brave, Pink is the film that can shake up feudal mindsets in India. It is a bit theatrical in its approach, but some causes need to be shouted from the rooftops. So that’s what Pink does. It stands tall and it lets out a roar of defiance against gender inequality and women exploitation. More power to girls.

PINK is an essential piece of cinema. Having Mr. Bachchan in an act which nobody can afford to miss, the topical courtroom drama questioning the mindset of the society on women and the prevailing double standards demands compulsory viewing. Do yourself a favour, watch PINK.

Does this film leave a similar impact? Frankly, I’d say, at the cost sticking the precious neck out — even more. And why’s that? Quite simply, because the terrible incident described in this film could happen to absolutely anyone of us, or our loved ones.

Pink grabs our collective biases and age-old notions about permissible boundaries for feminine behaviour by the shoulder and shakes them hard. This a film that can change gender equations in our society.

Big B’s buoyant performance, aided by Ritesh Shah’s sharp writing, chews into the malicious chauvinism. Director Aniruddha Roy Chowdhury never loses his grip through the narrative and the extra layer of intrigue becomes more effective thanks to the taut editing by Bodhaditya Banerjee. Pink is quintessentially baar baar dekho!
If there is one film you watch this whole year, make sure it is this!

Overall, ‘Pink’ is an evocative film about women, brimming with messages relevant for society, and keeps you riveted to the screen.

The courtroom scenes are cut to cut without any unnecessary scenes about interrogations and finding the proofs, or any songs for that matter. There is not one soul in the movie that has disappointed the audience with their acting skills. All in all, this is the Movie of the Year for me. I urge you to watch it with your family and friends.

Pink sucks us so deep into its characters’ lives that we come away breathess and anxious.

This film makes one think of the benefits the Prime Minister’s Swachh Bharat campaign could derive if a small part of it were assigned to the cleansing of our minds.

Pink is no moral lesson on women empowerment, but it hits home when dealing with matters of what constitutes consent among adults.

Pink is a powerful film that may well hammer in the message once and for all – a girl’s clothing or mannerisms, or her habits such as drinking are in no way an indicator that she is available! More importantly, when she says NO, it means a definite NO. Do not attempt to touch her without consent, even if she is your wife or girlfriend or even a sex worker. This film should be watched by men for sure.

A film like Pink is so imperative that everyone must watch it. We as a nation keep telling our girls, our daughters and our wives to behave a certain way, to dress a certain way, to even talk a certain way so that they are not misread or misunderstood.

It is a riveting courtroom drama that makes you want to stop blinking so as to not miss even a moment. We all are familiar with the incidents that could’ve triggered the story but Pink is a film that will be memorable for the impact it creates. Are women equal? Not even close but there is hope for change. Let’s make a beginning.

Here’s hoping the society takes some cues from here, and something changes, or even starts to change. Hats off for a beautiful attempt.  

While technically the film is alright, we could have done with a little more brightness when needed, a less grim look (a failing also seen in Sircar’s “Madras Café”) and too gloomy background score, and a bit of pace. Pannu as Meenal is a revelation — here’s a chameleon who can move from “Chashme Baddoor” to “Baby” to this with effortless and artless ease.

From the first scene, Pink flows effortlessly. However, the two lawyers—Piyush Mishra (prosecution lawyer) and Amitabh—change the rhythm of the film and take it a few notches higher in the post-interval period. Piyush, with another praiseworthy act, protects the bad guys with his strong arguments which find their roots in the patriarchal setup that largely defines the present day societal makeup. Armoured with the best dialogues, Amitabh impeccably plants a tight slap on every nonsensical argument’s face.