Dhruti Movie Review:
There is an interesting thought at the centre of Dhruti. Films often discuss crimes against women, unsafe streets, and predatory men. But Jagadish M’s film expands that fear further: What happens when not just women, but even men are no longer safe? When miscreants attack, loot, and destroy lives purely for gain, survival itself becomes uncertain.
Director: Jagadish M
Cast: Anchal Gowdra, Prashanth Soppimath, Bhavana S Reddy,Dhanush BV, Manoj Kumar K N, Deepak S D, Nuthan Kumar B NPradeep T, and Madhu Mandagere
The film opens inside a tense but quiet tennis arena. Dhruti, played by Aanchal Gowdra, prepares for a match while carrying visible emotional scars within. The pressure to win on court mirrors the pressure to stay strong outside it. Jagadish reveals only fragments at first, then slowly moves into a flashback-driven narrative.
As the story unfolds, Bhavana (Bhavana Reddy) enters the picture alongside her husband Prashanth (Prashanth Soppimath). This The newly married couple tries to settle into life, but Prashanth, who goes to work, faces random attacks by criminals driven by greed. On the other side, Dhruti’s traumatic encounter gradually intersects, showing how fragile safety has become.
The film’s strongest idea lies in its portrayal of being helpless despite wanting to do good. Prashanth wants to help, but every attempt drags him deeper into danger. Jagadish repeatedly asks whether doing the right thing is worth the personal cost. One of the more effective stretches comes when both the victims and the attackers end up in the same hospital, while fear slowly spreads across families. The mother’s panic, the father’s hope, and the emotional strain within the household feel more authentic than some of the thriller portions.
At the same time, Dhruti struggles with consistency. Jagadish, who handles writing, direction and cinematography, shows ambition, but the screenplay occasionally feels overcrowded with interconnected threads. Certain emotional moments land well, while others stretch longer than needed. The thriller portions work in parts, though the film sometimes mistakes loud intensity for emotional depth.
The commentary on the system is direct in some portions. For example, cops leaking information for quick money and feeding media circles with private tragedies underline how institutions often fail victims instead of protecting them. These moments are not always subtle, but they reflect the frustration the film wants to capture. The film also looks at how a common youth reacts when suddenly pulled into violence, and the consequences he faces simply for trying to help.
On the other side is Dhruti’s personal battle. Despite the trauma she undergoes, can she still return to the tennis court and face the final? Parallelly, Prashanth too must deal with the fallout of stepping in to save a girl in danger. Their journeys become the emotional core of the film.
Despite its rough edges, Dhruti, with a whole lot of newcomers, remains sincere in its purpose. It is less interested in heroic action and more concerned with the emotional cost of trying to stay decent in a violent world. The film may not fully realise all its ideas, but it leaves behind a question: In today’s world, is being a good Samaritan worth the risk?