The Author of this post have chosen to restrict the content of this Post to members only.
Page
of
1MURDER CASE 01.01.26
Kyunki Saas Bhi Kabhi Bahu Thi 2: EDT #8
X-MAS PARTYY 02.01.26
Who will win best actress awards for 2025?
Smriti deserves 14 lac per episode
SRK Targetted Again
Dhurandhar coming for a massive New Year Day collection
People do care about Abhiara/Abhiru!!
King and Love & War to split in 2 parts inspired by Dhurandhar??
Tumse Tum Tak: A Line That Shouldn’t Be Crossed
Band Baaja Baaraat To Re- Release
Gumrah Zindagi ~ A Rori/Tanaj FF
Ayaana's Heart, Demi-Jinn's Curse ~ Roshan FF
I understand what you’re responding to in Ikkis, but my takeaway was very different — and honestly, the film itself supports that reading if you look closely at how it functions, not just what it intends.
For all its talk of restraint and reflection, Ikkis often confuses quiet with inertia. The film lingers, yes — but lingering only works when there’s narrative tension underneath. Here, long stretches feel dramatically weightless. Scenes arrive, pause, and leave without accumulating urgency. What’s framed as “ethical unease” frequently plays out as emotional distance. I wasn’t reflecting — I was waiting.
The anti-war stance, while well-meaning, is also remarkably safe. It never truly unsettles or interrogates its own position. Instead of confronting the contradictions of heroism or nationalism head-on, the film settles into familiar moral territory. It wants to be humane, but it rarely risks being uncomfortable. That makes the message feel less radical and more like a carefully calibrated peace gesture — sincere, but predictable.
You talk about how the film avoids spectacle, but the problem isn’t the lack of spectacle — it’s the lack of dramatic pressure. War cinema doesn’t need bombast, but it does need stakes. In Ikkis, the conflict often feels abstract. When danger doesn’t feel immediate and choices don’t feel costly in the moment, the human toll the film wants to foreground never quite lands with full force.
The performances, too, didn’t work for me in the way you describe. The restraint often slips into blankness, especially in the lead. Internalised acting still requires presence — a sense that something is churning beneath the surface. Here, too many pauses feel empty rather than loaded, making it harder to emotionally invest in the character’s journey.
And that’s really where the film falters for me. It wants to say that wars are endured by individuals, especially young ones — but it never fully makes me feel that endurance. The silences don’t ache; they just sit there. The moral fatigue you mention is articulated, but rarely embodied.
So while I agree that Ikkis aims for thoughtfulness, I don’t think ambition alone makes it meaningful cinema. Reflection has to be earned through rhythm, tension, and emotional clarity. Without those, the film doesn’t whisper profound truths — it simply speaks too softly to be heard.
The kid : It’s no big deal I’ve had detention before
Mom : it’s the first day of school. No one gets detention on the first day of school
Dad : I wouldn’t say no one 
Border 1997 did that better....It kept on showing the horrors of the war and in the end how war is not a solution without watering down or whitewashing the perpetrators....
This is what viewers walk out with from the theaters....What a masterpiece song!
"Jung toh chand roz hoti hai, Zindagi barson talak roti hai....."
https://www.boxofficeindia.com/report-details.php?articleid=9542
https://www.indiaforums.com/article/amitabh-bachchan-gets-emotional-after-watching-agastya-nandas-film-ikkis-perfection-in-every-shot_230191
https://youtu.be/QfnyH8odcus?si=4qJfaQwmgSJl-CX_
https://youtu.be/DR2aYO1n71E?si=thkeHyuiIDSIrsjX
https://x.com/samthebestest_/status/2005653949148463301?s=46
7