Kohrra (Season 2)
Introduction
On the face of it, the second season of Kohrra can be touted as an investigative drama given how the cold open immediately airdrops the viewers into a murder at a barn. The victim is a young NRI woman Preet (Pooja Bhamrrah) who lies lifeless on a vegetable cutter. But the beauty lies in the subtext, something that we discover along the way as the drama unfolds. In many ways, Preet represents a fiery woman who is silenced by the society around here. It is ironic on how his brother Baljinder (Anuraag Arora) would casually slut-shame her, her husband Tarsem Singh (Rannvijay Singha) would ‘accidently’ slap her during one of their many fights, she is even be targeted by her brother-in-law’s family, and taken for granted by her ‘rebound’ lover Johnny (Vikhyat Gulati). It definitely doesn’t help that she can’t defend herself given that she is dead, and it further highlights the prevalence of patriarchy which in turn has lead to the death of vocal feminism. And in extension to this idea, Preet represents an oppressed society that is not only strangled but stabbed to death, in times when people are divided and hatred is thriving. Preet remains the death of a voice of opposition in a society known to thrive on the pretext of absolute power.
Story & Screenplay
Written by Sudip Sharma, Gunjit Chopra and Diggi Sisodia, the biggest selling point of the second season of Kohra remains its characterization. And this is also where the initial theme of patriarchy is prevalent with its two protagonists who form an unlikely duo assigned the task of investigating Preet’s death. If anything, all the men in Preet’s life are direct suspects, with the concept of patriarchy extending to Amarpal Garundi (Barun Sobti) who finds himself working under SI Dhanwant Kaur (Mona Singh). In an early scene, you see minor traces of sexism creeping in the character of Garundi, even as he quietly exclaims on how ‘Women Are Crazy’. On the other hand, Dhanwant is at the receiving end of cautionary sexism too from her superior, who repeatedly reminds her on how she has rejoined the police force based out of ‘pity’. The town of Dalerpura holds a specific proof of concept on how women are still treated as second class citizens in this country.
Much of the dynamic between Garundi and Dhanwant stems from their individual lives too, wherein both have been victims of their past. For Garundi, it remains about steering clear from his sister-in-law Rajji (Ekta Sodhi) who comes to stay with him and his wife Silky (Muskan Arora). You see a traumatic past whose traces still are seeded within Garundi, thereby forcing him to stay away from his house and crunch more hours at work. For Dhanwant, the traumatic past holds its shape in the form of her son that she has lost in an accident. You see moments of stillness when she is with her alcoholic husband Jagdish (Pradhuman Singh Mall), who is fighting his own battles. In a way, both Dhanwant and Jagdish represent Will and Agnes in Hamnet (2025) who are coping with the loss of their child very differently.
Hence both Garundi and Dhanwant look for relief whilst working together – a dynamic that gently transforms with time here. In a scene, you see Garundi quietly caring for his superior, even as the latter suffers bouts of nausea triggered as a side-effect for IVF. In another, you see Dhanwant quietly reminding Garundi on how her husband is missing for four days, even as the latter wishes to take a day’s leave to reconcile with his wife. In another scene, you see a fleeting moment on how Garundi has quietly gone against orders and kept the case file to himself, thereby allowing Dhanwant a chance to carry forward the investigation.
In a way, the ghost of the past has traumatized much of the other characters too – for Tarsem, it remains the guilt of venturing on the street of infidelity whilst still having ties with Preet. For Baljinder, it remains a property dispute that spoils his relationship with his sister. In a separate scene, you also see a character narrating an instance from the 1990s, when Punjab remained at its most vulnerable state in the wake of terrorism, and the police atrocities remained at its peak. The generational trauma of abuse narrated through this incident remained a sensitive byline that would never make it to the headlines.
As a parallel track, you are also witness to the character of Arun (Prayrak Mehta), a young labourer who is quietly on the surge to find his father who is missing over twenty years ago. At first, this seems like an unrelated plot – but steadily, the writing merges this universe to the existing one in the most heartbreaking fashion. The subtext of ‘slavery’ and ‘bonded labour’ is powerfully expressed in the most subtly disturbing manner possible. In moments, you feel for Arun who is mistreated by the police, almost being man-handled when all he wanted was a piece of information. In another scene, you see him struggling at a local restaurant wherein the owner reminds him on how his salary will be cut after a food mishap.
The seeds of slavery are sown in a moment that offers a glimpse into a disturbing tragedy. It remains a reminder on how ‘outsiders’ are treated in Punjab, again a drill down into a larger problem that exists everywhere. In a scene wherein a character exclaims on how he ‘still’ provided food to the labourers at his farmhouse, you know instantly on everything that is wrong with the society. If it is patriarchy as a hierarchy on the surface, it is oppression and distinction of caste and class that differentiates people. This transformed into peak television towards the end when the final reveal does take place. <span;>And the title of the show remains a piercing metaphor for exactly this – the truth that remains buried within the society amidst the fog of lies that are sold to the people. The truth never makes it to the mainstream, and the people continue to live in a state of oblivion! This is a screenplay writing masterclass if at all there is one!
Dialogues, Music & Direction
The dialogues offer a brooding pretence that compliments the gloomy mood of the proceedings. Even the lines imparting subtle bouts of humour isn’t incidental, but instead, it highlights a larger purpose. For instance, when a character says that ‘thankfully’ his son doesn’t do drugs, it isn’t said in humour but more so in relief, even whilst highlighting the drug problem present in the land. The BGM is meticulously haunting, forming an intertwining dynamic with the haunting atmospherics of the drama. The score is subtly and never over blaring – except in a terrific chase sequence staged against a famous song ‘O ho ho ho’, a reminder on how the ‘pulpy’ chase sequences are viewed in the North of India.
The cinematography offers gloomy frames that are laced with fog, something that doubles up as a metaphor for the truth that is hidden beneath it. And yet, it also represents the foggy psyche of multiple characters who are quietly fighting their own individual battles. The colour grading of pale shades of blue and grey offer a certain texture to the drama, that compliments the foggy ambience created on the exterior. The editing pattern is impeccable, allowing the drama to linger on like a never-ending nightmare only to get to the truth that was visibly present in front of you. The leisurely undertones of the intercutting narrative allows every character to have arcs of their own, even while allowing space for viewers to be emotionally connected to the characters.
Directors Sudip Sharma and Faizal Rahman tactfully create a world that is dipped in generational trauma while grappling with the current air of differentiation. The neo-noir style of narration is evident through the characters who have individual arcs of their own, even as the filmmakers try giving equal importance to most of them. This in many ways, also remains a character study wherein the filmmakers offer glimpses of trauma ingrained in their psyche. The direction remains brilliant to the core in probably one of the finest shows of recent times.
Performances
The performances are wonderful by the members of the cast, and this is where the casting director Nikita Grover must be applauded. Her ability to handpick talent so much so that every casting choice feels authentic, is a rare gift in itself, and kudos to her for the future too. Priyanka Charan as Charu, Rana Ranbir as Raju Sirda, Seema as Bunny Gulati, Neeru Sehgal as Loveleen, Balwinder Bullet as Malli and Gurjant Singh Marahar as Pamma are such phenomenal actors, and each one of them remain pivotal to the plot whilst hitting the beats of their characters every single time.
Satyakam Anand as Rakesh delivers a subtly moving performance that majorly comprises of blank stares along the way. And yet, his antics are so honest that you literally feel for the character at the end. Sidharth Bhardwaj as Dhanwant’s superior and Vikhyat Gulati as Johnny are characters who are on opposite sides of the spectrum but tied together with patriarchy, and both of them are superb to witness here. Mandeep Kaur Ghai as Twinkle beautifully uses her body language to communicate the angst of her character.
Pooja Bhamrrah is such a phenomenal talent who uses her expressive eyes to do the talking. As Preet, her eyes convey the pain that she has to endure from the society, almost being reflective of the differentiation that exists amidst her, even whilst tapping into her rebellious streak wonderfully well. She also ably uses her vulnerability to great effect, demanding that you feel for her character at the end (which you do in the most haunting manner possible).
Muskan Arora as Silky and Ekta Sodhi as Rajji are similar characters being subtly impacted by the prevalence of patriarchy in the society. Both their journeys might seem separate, but the obstacles remain eerily similar. And both bring varied degrees of vulnerability to their performances, thereby managing to immensely impress. Pardeep Singh Cheema as Jung offers a vulnerable outlook to masculinity while delivering a heartfelt act that peaks towards the end. Rannvijay Singha as Tarsem delivers a well restrained act that is laced with guilt and trauma of his past behavior, along with a sense of regret that he beholds in his heart for Preet. This definitely felt like a step-up of sorts, in a performance that was brilliant as ever!
Davinder Gill as Constable Aujla subtly keeps the needle ticking with his unhinged but controlled sense of humour that wonderfully adds a different dimension to the drama. He is tactful enough to control his deliverables by sticking to the mood of the drama, and brilliantly finding lighter moments in the situation.
Anuraag Arora is such a fine actor who brings a sense of restraint in each of his roles. As Baljinder, he showcases his tough side being immune to the oppressions of the society while coming across as a character who not only resists it, but tweaks it for his advantage. He is brilliant as ever here. Pradhuman Singh Mall as Jagdish delivers one of the most heartfelt and moving performances of the year, in a character driven by a past trauma stemming from the loss of his child. His alcoholism isn’t centered around that incident, but more of an escaping mechanism to re-establish his bond with his wife. In a moving scene at the end, you see him coming to terms with his past, while delivering a heartfelt monologue that stays with you after the show. He was outstanding to the core.
Prayrak Mehta as Arun has such a brilliant outinf here in potentially, a career-defining performance as a labourer from Jharkhand. You see him ably using his thin frame with stuttering intelligence to great effect, almost being a doormat to people around him while silently fighting a lone battle of his own. He is treading the path of his father without having knowledge of the same, and this delutional trait of his character is so well executed in a memorable act!
Barun Sobti as Garundi is outstanding to witness here. On the surface, he may seem as a character quietly tired of taking orders from a female. And yet, you see a character arc on display that subtly transforms the traits that were taught to him by the society. You see him using his duty to escape his past, another indicator of the trauma that he has been carrying within him. But what his equation with Dhanwant teaches him is to let-go (a trait that she is also learning on the go). Barun wonderfully uses his stoic expressions to deliver one of the finest performances of his career.
Mona Singh has been on an absolute roll lately, and deservedly so for the talent that she possesses. And here as SI Dhanwant, she carries forward her good form in a character that wishes to use the ongoing investigation as a sense of catharsis for her personal life and trauma. In a scene, you see her resisting her husband from giving away their bike – a symbolic vehicle that is a brutal reminder linked to the loss of her child. Her futile attempt at undergoing IVF is another indicator of trauma. And yet, the arc completes at the end when she learns the art of letting go – first through her job, second with the case that is cracked, and lastly with the bike that she gives away. This remained one of the best performances ever by an actor in recent times, wherein Mona is brilliant to the core in an acting masterclass of the highest order.
Conclusion
Boasting of excellent performances, the second season of Kohrra is a neo-noir social drama disguised as an investigative thriller wrapped in a screenplay-writing masterclass that makes for a brilliant watch. Jeez, we may well have seen the best of 2026 already! Available on Netflix and Highly Highly Recommended!