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Anek
Theatrical release poster
Directed byAnubhav Sinha
Written by
  • Anubhav Sinha
  • Sima Agarwal
  • Yash Keswani
Produced by
Starring
CinematographyEwan Mulligan
Edited byYasha Ramchandani
Music bySongs:
Anurag Saikia
Background Score:
Mangesh Dhakde
Production
companies
Distributed byAA Films
Release date
  • 27 May 2022 (2022-05-27)
Running time
147 minutes[1]
CountryIndia
LanguageHindi
Budget₹40 crore[2]
Box office₹11.10 crore[3]

Anek (transl. Many) is a 2022 Indian Hindi-language action thriller film[1] written and directed by Anubhav Sinha who also co-produced it with T-Series.[4] It stars Ayushmann Khurrana, Andrea Kevichüsa, Manoj Pahwa, Kumud Mishra and J. D. Chakravarthy.[5][6][7]

Anek revolves around a police official sent as a secret agent to Northeast India to bring a peace deal between the government and the separatist groups in the North East, who want to break away from India.[8][9] Anek was released in cinemas worldwide on 27 May 2022 to mixed reviews.[10][11][12]

Cast

[edit]

Production

[edit]

Filming began in February 2021 and continued extensively throughout parts of northeastern India [13] and wrapped up within March 2021.[14][15]

Music

[edit]
Anek
Soundtrack album by
Anurag Saikia
Released7 June 2022
Recorded2021–2022
GenreFeature film soundtrack
Length15:51
LanguageHindi
Nagamese
English
LabelT-Series
ProducerAnurag Saikia

The music rights of the film are owned by T-Series. The music of the film is composed by Anurag Saikia. The first single was released on 24 May 2022.[16]

Original tracklist
No.TitleLyricsSinger(s)Length
1."Voice of Anek"Shakeel AzmiSunidhi Chauhan, Vivek Hariharan, Anurag Saikia3:48
2."Oh Ku Takum"Jonathan LemturImnanungsang Tzudir, Temsuwapang Aiee2:23
3."Shaal Wunga"Basharat PeerNoor Mohammad Shah, Muntazir Faraz2:38
4."Oh Mama"Anurag SaikiaNeha Karode, Anurag Saikia4:02
5."Rabbit (Cafe Song)"Anurag SaikiaNeha Karode3:02
Total length:15:51

Release

[edit]

Theatrical

[edit]

The film was released in theatres worldwide on 27 May 2022.[11]

Home media

[edit]

The digital streaming rights of the film is owned by Netflix. The film streamed on Netflix from 26 June 2022.[17]

Reception

[edit]

Anek received mixed reviews from critics, with praise for the performances and timely themes, but criticism for its screenplay and direction.[18][19][20] On the review aggregator website Rotten Tomatoes, 67% of 6 critics' reviews are positive, with an average rating of 5.8/10.[21]

A critic for The Times of India rated the film 4 out of 5 stars and wrote, "Anek, through its runtime, draws subtle parallels between the northeast and other parts of the country, in particular Jammu and Kashmir."[22] Tina Das of The Print rated the film 4 out of 5 stars and wrote, "Anek manages to showcase the complex layers of the insurgency in the Northeast, and it does that well."[23] Phuong Le of The Guardian rated the film 4 out of 5 stars and wrote, "Anek is a rare commercial film that spotlights Northeastern Indian stories, and goes out of its way to refuse to condemn guerrilla fighters as terrorists."[24] Devesh Sharma of Filmfare rated the film 3.5 out of 5 stars and wrote, "The political message packs a punch, its power is somewhat diminished by the execution and the writing, which is rusty in places."[25] Navneet Vyasan of News 18 rated the film 3 out of 5 stars and wrote, "If it wasn't for its cast, Anubhav Sinha's directorial 'Anek' would've been a test of your patience. Thankfully, it isn't."[26] Swati Chopra of The Quint rated the film 3 out of 5 stars and wrote, "Anek is preachy in parts, but the film has its heart in the right place and it could have done better if the film didn't feel rushed, leading to less clarity."[27] Fengyen Chiu of Mashable rated the film 3 out of 5 stars and wrote, "Anek tries very hard to bring forth the problems of North-east people in India but the message doesn't quite reach properly."[28]

Nandini Ramnath of Scroll.in rated the film 2.5 out of 5 stars and wrote, "Anek is sharper playing principled dissenter than uninvited saviour of the North East."[29] Sukanya Verma of Rediff rated the film 2.5 out of 5 stars and wrote, "There's too much going on in Anek, and a lot of it is terribly disjointed."[30] Shubhra Gupta of The Indian Express rated the film 2.5 out of 5 stars and wrote, "Ayushmann Khurrana and the film stay woolly, being careful to stay in the middle of the while-on-the-one-side, but-also tightrope. Anubhav Sinha dips his toe into relatively unexplored territory, with mixed results."[31] Bharathi Pradhan of Lehren rated the film 2.5 out of 5 stars and wrote, "The cinematic effort to mainstream the North-East, ends up in a mess that further alienates instead of integrating."[32] Anna M. M. Vetticad of Firstpost rated the film 2 out of 5 stars and wrote, "Visually spectacular, politically blurred, well-meaning and yet Anek fails to reach out across the barrier of the screen."[33] Umesh Punwani of Koimoi rated the film 2 out of 5 stars and wrote, "Anubhav Sinha had so much to showcase, but he chose the wrong platform to do so."[34] Monika Rawal Kukreja of The Hindustan Times stated, "Anubhav Sinha's latest political-social drama starring Ayushmann Khurrana fails to keep up with the expectations sets by Thappad, Mulk, Article 15."[35]

Accolades

[edit]
Year[a] Award Category Recipient(s) Result Ref.
2023 68th Filmfare Awards Best Female Debut Andrea Kevichüsa Won [36]
Best Cinematography Ewan Mulligan Nominated
Best Sound Design Kaamod L Kharde
Best Background Score Mangesh Dhakde

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Anek

View on Grokipedia
from Grokipedia
is a 2022 Indian Hindi-language political action thriller film written, directed, and co-produced by , starring as Joshua, an undercover intelligence agent dispatched to a strife-torn northeastern state to broker peace amid separatist insurgency. The narrative intertwines Joshua's covert negotiations with encounters involving local figures, including aspiring boxer Aido portrayed by debutante Andrea Kevichusa, highlighting tensions between regional alienation and national unity without outright condemning insurgents as terrorists. Released theatrically on 27 May , the film garnered mixed critical reception for its ambitious exploration of underrepresented northeastern issues but faced criticism for choppy screenplay and superficial treatment of conflicts. Commercially, it underperformed, collecting approximately ₹9.05 domestically against expectations, leading director Sinha to later apologize to the crew for the perceived waste of their efforts.

Background and context

Historical overview of Northeast India insurgency

The Naga insurgency, a cornerstone of 's protracted conflicts, emerged in the aftermath of India's independence. The (NNC), established in the 1940s, initially pursued sovereignty through petitions but escalated to armed resistance in the 1950s amid demands for an independent , drawing on historical grievances from British-era administrative separations and post-1947 integration disputes. This movement inspired similar ethnic separatist campaigns across the region, including among Mizos and Assamese, fueled by perceptions of cultural distinctiveness and resistance to central authority. Violence intensified through the 1960s and 1970s, with militants conducting ambushes, bombings, and extortion rackets that terrorized civilians and forces; inter-ethnic clashes, such as Naga-Kuki confrontations in the , alone claimed over 1,000 lives in a five-year span. In response, the government enacted the Armed Forces (Special Powers) Act on September 11, 1958, initially for and later extended regionally, empowering personnel with broad operational authority in "disturbed areas" to curb militant activities. Factionalism within Naga groups culminated in the formation of the (NSCN) in 1980 from NNC dissidents, followed by its 1988 split into NSCN-Isak-Muivah (IM) and NSCN-Khaplang, which perpetuated intra-group violence alongside anti-state operations. Counter-insurgency efforts, including military operations and surrenders, progressively diminished active militants and incidents; overall Northeast violence incidents dropped 73% from 11,121 (2004-2014) to 3,033 (2014-2023), with security force fatalities declining accordingly. A pivotal ceasefire with NSCN-IM took effect in 1997, paving the way for negotiations that yielded the Framework Agreement on August 3, 2015, between the Government of India and NSCN-IM, which delineated broad parameters for a political settlement recognizing Naga aspirations without conceding sovereignty. Parallel measures addressed root factors like economic underdevelopment and isolation through initiatives such as the North Eastern Council (established 1971 for regional planning) and the Act East Policy, channeling central investments into infrastructure that often exceed state-generated revenues, thereby fostering integration amid the region's ethnic mosaic of over 200 communities. Despite these advances, sporadic extortion and factional killings underscore persistent challenges, though empirical trends indicate a marked decline in large-scale insurgency.

Real-world inspirations for the film's themes

The film's exploration of unity amid separatist strife draws partial inspiration from the protracted Naga , particularly the 2015 Framework Agreement between the and the National Socialist Council of Nagaland-Isak-Muivah (NSCN-IM), which aimed to address long-standing demands for Naga but has stalled over core issues like a separate Naga flag and constitution. NSCN-IM leaders, including , have consistently framed these as non-negotiable prerequisites for resolution, rooted in assertions of historical rather than integration into a unified Indian framework, contrasting with Anek's narrative emphasis on national cohesion over territorial fragmentation. Director has cited personal connections to , including interactions influencing the portrayal of regional grievances, though the film generalizes diverse insurgencies across Northeast states into a singular unity motif, diverging from groups' explicit sovereignty claims. Northeast India's tribal autonomy movements, including concerns over demographic shifts from migration, inform the film's backdrop of ethnic tensions and disputes, yet empirical trends underscore a marked decline in attributable to intensified operations and accords rather than alienation-driven sympathy for militants. incidents in the region fell by approximately 70% and civilian fatalities by 80% from peak levels to , with further reductions through 2023 linked to surrenders and counter- efficacy post-2014. This causal trajectory challenges motifs of perpetual institutional failure, as evidenced by programs like Operation Sadbhavana, where and initiatives, including over 40 Goodwill Schools, have facilitated education and community outreach to foster integration in remote areas. Sinha's oeuvre, including Article 15's scrutiny of caste-based institutional biases in policing, extends to Anek's implied critique of central in handling peripheral unrest, yet data on —such as reduced militant recruitment amid economic stabilization in states like , where GSDP growth reached 7.7% in 2023-24—highlights successes in stability through pragmatic security and development over narrative portrayals of irreconcilable divides. These elements reflect broader debates on causal drivers of unrest, prioritizing verifiable pacification metrics over unsubstantiated tropes of endemic disaffection.

Plot

Detailed synopsis

Amartya Rao, working undercover as Joshua for India's , is deployed to , , to facilitate a peace accord between the government and the separatist Naga militants led by Rana, head of the Tiger Sangha group. The mission involves creating pressure on the militants by simulating a rival faction known as Johnson, using an outdated photograph of a former member to fabricate threats and compel negotiations offering limited autonomy in exchange for disarming. Joshua integrates into the local community, befriending Aido, an aspiring national-level boxer training amid the region's tensions, whose father Wangnao harbors connections to insurgent activities. As Joshua gathers intelligence, a genuine Johnson faction emerges, opposing the accord and advocating for broader economic reforms and rather than mere political concessions, drawing support from disillusioned locals including , a young man radicalized after his cousin's death in crossfire. Betrayals surface when Joshua's cover is jeopardized during encounters, leading to violent clashes, including a police operation that kills , and revelations about Wangnao's role in countering both militants and government forces. In the climax, Joshua pursues Wangnao across the border into following a ambush, securing his surrender along with evidence of illicit activities by both Wangnao and Rana's group, such as involvement in drug trade. Confronted with moral conflicts over the accord's viability, Joshua reports the findings to his superior Abrar Butt, resulting in the peace talks' abrupt cancellation due to exposed on multiple sides. The narrative concludes with Aido achieving victory in her championship bout, juxtaposed against the unresolved , underscoring personal resilience amid systemic failures.

Cast and characters

Lead roles and performances

Ayushmann Khurrana stars as Aman, operating under the alias Joshua, a deployed to for undercover operations aimed at resolving insurgent conflicts through infiltration and . His role requires proficiency in local dialects and to navigate militant groups and government interests. Andrea Kevichüsa debuts in the film as Aido, a determined boxer from pursuing a spot on the national team amid personal hardships and regional unrest. Her character embodies the struggles of Northeastern youth balancing ambition with socio-political turmoil. Kumud Mishra portrays Divakar, a high-ranking overseeing efforts tied to the mission's geopolitical stakes. Manoj Pahwa appears as Abrar Bhatt, an operative coordinating with field agents in the counter-insurgency framework.

Supporting cast

Abhinay Raj Singh played Raaj Jai, a cadre whose role underscored the internal factional tensions among insurgent groups in the film's ensemble. Manoj Pahwa portrayed Abrar Bhatt, contributing to the bureaucratic elements through his depiction of an intelligence operative navigating operational challenges. appeared as Divakar, Abrar's superior, adding depth to the administrative hierarchy in the supporting framework. enacted Anjaiyaah Bellamkonda, enhancing the ensemble's portrayal of authoritative figures in conflict zones. The production incorporated Naga and other Northeast Indian actors, such as Loitongbam Dorendra Singh as Tiger Sanga, to provide authentic representation in local community roles, reflecting the film's commitment to regional casting for cultural accuracy.

Production

Development and scripting

Following the commercial and critical success of his 2019 film Article 15, director Anubhav Sinha initiated development on Anek as a socio-political thriller addressing underrepresented conflicts in Northeast India. The project was publicly announced on February 2, 2021, via a first-look poster shared by lead actor Ayushmann Khurrana, marking Sinha's second collaboration with the actor after Article 15. Sinha's vision centered on illuminating the region's insurgencies and peace negotiation efforts, drawing from limited prior cinematic depictions to emphasize authentic narratives of identity and integration. The screenplay was co-written by , Sima Agarwal, and Yash Keswani, with handling the story and dialogues to ensure a layered exploration of geopolitical tensions. Scripting emerged from a year-long phase involving academic reading of books on Northeast and discussions with regional experts, sparked by 's conversations with his Tai-Chi instructor Deepak Das, a native of , who provided insights into local culture and grievances. This process sought to ground the narrative in factual complexities rather than generalizations, avoiding overt while highlighting paths to unity amid diversity. The title Anek, translating to "many" in and incorporating the acronym for Northeast, encapsulates Sinha's intent to depict multiple routes to national cohesion despite separatist divides. Produced jointly by T-Series (Bhushan Kumar and Krishan Kumar) and Sinha's Benaras Media Works, the film carried a reported budget of approximately ₹30 , allocated toward scripting authenticity and thematic depth.

Pre-production and casting

Anubhav Sinha cast Ayushmann Khurrana in the lead role of Joshua, an undercover agent, drawing on their prior collaboration in Article 15 (2019), where Khurrana demonstrated versatility in socially nuanced parts. This selection aligned with Sinha's vision for a protagonist navigating intricate political dynamics without relying on conventional action-hero tropes. Pre-production emphasized authentic Northeast Indian elements, including the casting of native and model Andrea Kevichusa as Aido, a determined boxer, to foreground regional talent and perspectives in a film. Sinha prioritized research into Northeast socio-political realities to eschew reductive portrayals, conducting groundwork that informed character development and setting authenticity, though specifics on consultations remained internal to the team. The technical crew was finalized with cinematographer Saurabh Goswami, selected for his proficiency in handling rugged, location-specific visuals essential to the film's conflict zones. These preparations occurred amid the COVID-19 disruptions, which indirectly extended timelines before principal photography commenced in early 2021.

Filming and technical aspects

Principal photography for Anek commenced in February 2021, primarily in Northeast India, including locations in Assam such as Kaziranga and Meghalaya such as Shillong. Additional sequences were filmed in Arunachal Pradesh, utilizing real-world sites like Pasighat and Pangin to capture the insurgency-themed action and socio-political backdrop. The production wrapped on March 20, 2021, after an intensive schedule focused on these remote areas. Filming faced logistical challenges due to the rugged terrain of and , which demanded adaptive shooting strategies and contributed to the physical demands on the cast and crew. Many local actors from these regions were cast to enhance authenticity in portraying the ethnic and cultural dynamics. Action sequences were choreographed by international specialist Stefan Richter, emphasizing realistic and high-energy combat integrated with the narrative's conflict zones. The production adhered to prevailing industry standards during the ongoing , though specific on-set incidents were not publicly detailed.

Music and soundtrack

Composition and songs

The original songs for Anek were composed by , while the background score was created by Mangesh Dhakde. Saikia's compositions blend Naga folk influences with Bollywood sensibilities, notably in "Oh Ku Takum," a track sung in Nagamese by Imnanungsang Tzudir and Temsuwang Aier to evoke regional authenticity. The soundtrack includes five songs: "Voice of Anek," a rap-style anthem with lyrics by , performed by , Vivek Hariharan, and Saikia himself; "Shaal Wunga," penned by ; "Oh Ku Takum," with lyrics by Jonathan Lemtur; and situational pieces "Rabbit (Cafe Song)" and "Oh Mama," both with lyrics by director . "Voice of Anek" was released as the on May 27, 2022, via T-Series, ahead of the full album's digital launch on June 7, 2022. Dhakde's score utilizes subtle percussion and folk-inspired instrumentals to underscore the film's tense action sequences and Northeast Indian milieu, creating a haunting atmospheric layer without overpowering the narrative.

Critical response to music

Critics commended the background score for its dense and praiseworthy composition, particularly in amplifying the film's tense action sequences and overall atmosphere. The music was also highlighted for its impressive integration with , effectively supporting the narrative's emotional and regional undertones without commercial excess. One review described the as minimalist and meaningful, enhancing the story's emotional depth while maintaining restraint to avoid overpowering the visuals. Songs composed by elicited mixed reactions, often viewed as secondary to the score. While tracks like the farmer's folk song were praised for their melancholic resonance, aligning with the film's themes of strife, the title track faced criticism for lacking vitality. Overall, the vocal pieces were deemed more misses than hits, potentially diluting the authenticity through conventional Bollywood structuring rather than innovative fusion of Northeastern cultural elements. The soundtrack achieved moderate streaming presence on platforms like but did not secure prominent chart positions or widespread viral traction.

Release

Marketing and promotion

The marketing campaign for Anek centered on building anticipation through digital teasers and interactive fan engagement, with the official motion teaser released on May 4, 2022, followed by the full trailer on May 5, 2022. These materials highlighted the film's action-thriller elements, including intense undercover operations and sequences, while underscoring its social message of national amid Northeast India's insurgencies, portraying protagonist Joshua's mission to broker between separatists and the government. A key promotional tactic involved Ayushmann Khurrana launching an interactive "rescue mission" challenge on May 3, 2022, encouraging fans to participate online for exclusive access to teaser content, which generated buzz through social media shares and personalized video messages from the actor. Khurrana leveraged his personal social media platforms to amplify these efforts, posting updates that tied into the film's theme of unity, though the campaign relied more on content-driven appeal than high-octane star power typical of mainstream commercial releases. Targeted outreach included promotional events featuring Khurrana alongside co-star Andrea Kevichüsa, such as appearances on May 24 and 25, 2022, to connect with audiences familiar with Northeast narratives, though no major film festival tie-ins were reported. The strategy emphasized the film's socio-political depth over mass spectacle, aligning with director Anubhav Sinha's track record of message-oriented cinema.

Theatrical distribution

Anek received a theatrical worldwide release on May 27, 2022. In , distribution was handled by T-Series, the production banner's associated entity. Overseas markets, including the , were managed by distributors such as Cinestaan AA. The (CBFC) awarded the film a U/A rating prior to release, requiring minimal modifications that included the excision of several profane terms, such as "b**** c**d," "rkhana," "l*a," and "fk," to comply with certification guidelines. No substantial alterations for violence or other content were reported. Screen allocation prioritized urban multiplexes, with comparatively limited availability in regions like , reflecting broader logistical challenges in India's uneven cinema infrastructure. The rollout coincided with competitive scheduling against films like Jug Jugg Jeeyo, influencing circuit bookings in key markets.

Digital and home media availability

_Anek premiered digitally on Netflix on June 26, 2022, about one month following its theatrical debut on May 27, 2022. The streaming release expanded accessibility to global viewers through 's platform, which includes multilingual subtitles supporting regional Indian languages alongside English and others. As of 2024, it remains available for streaming exclusively on , with no free ad-supported options reported. Physical home media formats like DVD and Blu-ray have seen negligible distribution for Anek in , consistent with broader Bollywood trends where digital piracy erodes viability for such releases. High rates of online unauthorized in the Indian film sector, leading to substantial revenue losses estimated in billions annually, further discourage investment in production and sales. This shift prioritizes over-the-top (OTT) platforms for post-theatrical home viewing, minimizing reliance on tangible formats vulnerable to replication.

Commercial performance

Box office earnings and budget

_Anek was produced on a reported budget of approximately ₹30 . Other estimates place the total cost, including prints and publicity, at ₹40 . The film earned ₹2.11 net on its opening day, May 27, 2022, followed by ₹2.20 on day two and ₹1.95 on day three, for a first-weekend total of around ₹6.26 net in . Collections declined sharply thereafter, with day four at approximately ₹0.50 net, reflecting poor word-of-mouth reception. The total India net collection stood at ₹8.15 , with India gross at ₹9.7 and overseas gross at ₹1.19 , yielding a worldwide gross of ₹10.89 . Given the budget and earnings, Anek underperformed commercially, classified as a flop by trade analysts. Contributing empirical factors included post-COVID audience hesitancy toward theatrical releases in 2022, competition from Hollywood films like , and limited mass-market draw despite the lead actor's established base.

Factors influencing financial outcome

The Indian exhibition sector in 2022 was navigating a partial recovery from disruptions, with domestic revenues rebounding but selectively favoring high-engagement mass entertainers over niche genres like political thrillers. Anek, budgeted at approximately ₹47 , earned only ₹8.37 in India gross and $325,000 overseas, resulting in a worldwide total under ₹11 and classifying it as a commercial disaster. This underperformance aligned with broader industry trends, where 39 Bollywood releases flopped amid audience fatigue with serious content and a pivot toward escapist films during economic recovery. Direct competition exacerbated Anek's challenges, as its May 27, 2022, release coincided with , a horror-comedy that amassed over ₹266 nett in by capitalizing on family-oriented, low-stakes . Anek's nett collection stood at just ₹1.75 , dropping sharply thereafter to a six-day total of ₹7.77 , reflecting limited initial traction in urban multiplexes where post-pandemic viewers prioritized proven formulas over geopolitical narratives. Genre-specific risks further constrained viability, as evidenced by director Anubhav Sinha's prior film Article 15 (2019), a with a ₹30 budget that grossed nearly ₹100 worldwide, achieving profitability through broader thematic resonance and pre-pandemic attendance patterns. In contrast, Anek's focus on insurgency yielded minimal regional uplift despite its setting, with collections skewing toward established Hindi heartland circuits rather than or territories, where and lower theater density amplified opportunity costs. This highlighted the volatility of issue-based cinema in a market demanding immediate gratification over reflective viewing.

Reception

Critical analysis

Critics gave Anek mixed reviews, with an approval rating of 67% on based on six reviews. The film's user rating stands at 6.3 out of 10 from over 22,000 votes, reflecting divided opinions on its execution despite appreciation for its subject matter. Ayushmann Khurrana's portrayal of the undercover agent received widespread praise for its intensity and stoic delivery, often described as a career highlight that evoked comparisons to classic Bollywood anti-heroes. Supporting performances, including those by and , were noted for adding depth to the ensemble. The film's focus on Northeast India's was commended as timely and rare in mainstream , with outlets like highlighting its incisive exploration of regional alienation and demands for belonging within the Indian union. Action sequences were occasionally lauded for competent choreography, particularly in confined jungle confrontations, despite budgetary constraints. Conversely, the screenplay drew criticism for inconsistencies and failure to sustain narrative momentum, with reviewers pointing to choppy structure and superficial handling of complex conflicts. Pacing issues, including sporadic lulls and rushed resolutions, undermined engagement, as noted in assessments describing the film as dragged by poor editing and over-reliance on didactic exposition. Koimoi rated it 2 out of 5, faulting the script for complicating its socio-political message into chaos rather than clarity. While left-leaning critics such as The Guardian valued its refusal to outright vilify insurgents, portraying them with nuance amid systemic grievances, others argued this approach generalized Northeast dynamics into a muddled plea, softening accountability for violence without deeper causal analysis. Scroll.in scored it 2.5 out of 5, critiquing the muddled thriller elements that diluted its political inquiry.

Audience and public response

Audience reception to Anek has been mixed, reflected in an user rating of 6.3 out of 10 from 22,788 votes as of late 2024. User reviews frequently commend the film's ambitious premise addressing Northeast India's and unity themes but lament execution shortcomings, such as a choppy and superficial treatment of political conflicts. Discussions on forums like highlight good intentions undermined by muddled storytelling and shaky direction, with users noting attempts to cover multiple complex issues in a single narrative led to unresolved depth. Quora contributors echo this, describing the film as failing to strike emotional chords despite its socio-political ambitions, resulting in divided personal assessments. Responses show regional polarization: Northeast viewers expressed appreciation for spotlighting underrepresented issues like ethnic divisions but criticized factual inaccuracies and generalizations in portraying dynamics. In contrast, urban audiences often viewed the didactic tone as preachy, with some screenings marred by insensitive laughter at serious cultural depictions, diverging from the film's intent to provoke reflection. Director acknowledged this divide, attributing it to the film's challenging subject matter on national integration.

Accolades and nominations

Anek garnered limited recognition at major Indian film awards, with primary accolades centered on actress Andrea Kevichüsa's debut performance. The film did not secure nominations in prominent categories such as Best Film, Best Director, or Best Actor at events like the Filmfare Awards. At the 68th Filmfare Awards in 2023, Kevichüsa won Best Female Debut for her role as the Naga activist Dolhini, marking a breakthrough for representation from Northeast India. The film received additional nominations at the same ceremony, including Technical Awards for Best Sound Design (Kaamod Khanna) and Best Editing (Prashant Naik).
Award CeremonyCategoryRecipient/NomineeOutcomeYear
Best Female DebutWon2023
Best Sound DesignKaamod KhannaNominated2023
Best EditingPrashant NaikNominated2023
Best Debut Actress (Jury's Choice)Nominated2023
Grazia Millennial AwardsScene Stealer of the YearNominated2023
Bollywood Film Journalist AwardsBest Debut (Female)Won2023
Kevichüsa also earned a nomination for Best Debut Actress at the Zee Cine Awards 2023, though the award went to for Goodbye. No wins or nominations were reported for the soundtrack or other technical aspects beyond Filmfare, and the film was absent from broader Bollywood honors like National Film Awards.

Themes and analysis

Portrayal of national unity and identity

The film Anek centers its narrative on the motif of "Anek," denoting multiplicity converging into unity, positing that ethnic diversities—such as Naga tribal customs and insurgent aspirations for —can harmonize with broader Indian identity primarily through and mutual accommodation, eschewing reliance on . This portrayal frames national cohesion as an organic outcome of dialogue that honors regional particularities, suggesting that insurgent grievances arise from imposed uniformity rather than inherent incompatibilities. Empirical evidence, however, indicates that constitutional mechanisms like the Sixth Schedule—applicable to tribal areas in , , , and —have sustained local autonomy via district councils with legislative, executive, and judicial powers, enabling cultural preservation alongside integration into the Indian federation and correlating with diminished separatist momentum. Military integration efforts, including counter- operations and peace accords, have further contributed to a 71% reduction in Northeast insurgency incidents from 2014 to 2023, alongside an 82% drop in civilian fatalities, underscoring that enforced stability has empirically advanced unity without negating diversity. Causally, the film's emphasis on dialogue overlooks how economic underdevelopment has historically fueled alienation, yet recent data reveals mitigation through rising per capita incomes across Northeast states; for example, Assam's per capita net state domestic product increased from ₹90,482 in FY2018 to ₹118,504 in FY2022, while states like achieved the highest national per capita levels, reflecting infrastructure and investment gains that bolster loyalty to the national framework. This progress, driven by targeted policies rather than unfettered , challenges the film's implication that force alone perpetuates division, as hybrid approaches—autonomy plus development—have demonstrably eroded insurgency's appeal.

Critique of insurgency and government policies

The film Anek depicts the as a vicious cycle perpetuated by both militant excesses and state overreach, particularly through the invocation of the Armed Forces (Special Powers) Act (AFSPA), which it frames as enabling unchecked violence by security forces. Protagonists navigate negotiations with insurgent leaders, humanizing figures driven by ethnic grievances and portraying government efforts as cynical bids for control rather than genuine peace, often equating the moral failings of terrorists with those of the establishment. This approach highlights real discrimination faced by Northeastern communities, such as in mainland , thereby raising awareness of underlying socio-economic neglect that fuels . Critics argue, however, that the film's reluctance to unequivocally denounce insurgents as terrorists establishes a false , downplaying the insurgents' primary role in sustaining violence through targeted killings, abductions, and rackets that have terrorized civilians and stifled development. Indian Insurgent Groups (IIGs) have imposed "taxation" on businesses, traders, and even projects, creating parallel economies that perpetuate dependency on armed rather than legitimate , with reports documenting widespread as a core funding mechanism. Empirical data from security assessments indicate that insurgents bore responsibility for the majority of civilian fatalities in the region's conflicts, with over 10,000 deaths attributed to such groups since the amid demands for often backed by external actors. This normalization risks obscuring causal realities: while grievances exist, insurgent ideologies rooted in ethnic exclusionism and fortified by cross-border havens have prolonged instability far beyond state shortcomings. In contrast, government policies emphasizing ceasefires have yielded pragmatic gains, as evidenced by the 1997 indefinite truce with the National Socialist Council of Nagaland-Isak-Muivah (NSCN-IM), extended multiple times and resulting in over 600 negotiation rounds that correlated with a sharp decline in fatalities—from hundreds annually in the early 2000s to dozens by the 2020s—demonstrating negotiation's efficacy in de-escalating without capitulation. Such accords, including frameworks with other factions, have neutralized thousands of militants through surrender or integration, underscoring that targeted security combined with development ("vikas") addresses root causes more effectively than the film's implied between aggressors and defenders. While Anek commendably spotlights the human cost of , its failure to prioritize insurgents' accountability overlooks these verifiable policy successes and the empirical asymmetry in perpetuating the "."

Controversies

Political messaging and biases

Anubhav Sinha's filmmaking frequently critiques institutional power structures and societal prejudices, as seen in Mulk (2018), which portrays perceived Islamophobia in the , and Article 15 (2019), which highlights caste-based biases in policing, often framing state mechanisms as perpetuators of inequality rather than neutral enforcers. Critics from conservative outlets argue this approach selectively emphasizes grievances while underplaying cultural or individual factors contributing to conflicts, a pattern normalized in Bollywood's progressive-leaning narratives despite evidence of insurgent-led disruptions in regions like . In Anek (2022), this manifests through portrayals of intelligence agencies, including implied references to RAW, as manipulative entities engineering divisions for political gain, sidelining depictions of their role in countering documented militant operations that have resulted in over 10,000 deaths since the 1950s insurgency waves. Reviews observed the film's reluctance to categorize insurgents explicitly as terrorists, instead attributing their actions to regional alienation and policy failures like the Armed Forces (Special Powers) Act, echoing rhetoric that prioritizes ethnic narratives over security data on attacks targeting civilians and infrastructure. Public discourse following the film's May 27, 2022 release split along ideological lines, with left-leaning publications praising its boldness in questioning national integration and linguistic impositions, while right-leaning voices decried it as propagandistic for humanizing militants without balancing scrutiny of their empirical tactics, such as bombings and kidnappings that have fueled cycles of violence. This polarization underscores broader debates in Indian cinema, where institutional critiques from filmmakers like —often amplified by media outlets with documented progressive biases—face pushback for overlooking causal links between separatist ideologies and sustained unrest, as evidenced by government reports on over 6,000 insurgency-related incidents in the Northeast from 2010 to 2020.

Depiction of militants and security forces

In the film Anek, militants are depicted primarily as ideologically driven separatists motivated by grievances over regional and cultural marginalization, with scenes emphasizing their internal debates and personal backstories rather than routine or indiscriminate . This portrayal humanizes figures like the leader, portraying their actions as a response to perceived state oppression, while downplaying tactics such as sustained kidnappings and bombings that persisted even during peace negotiations in Northeast India's real insurgencies. In contrast to this softening, empirical data from the Indian Ministry of Home Affairs indicates that insurgent groups in the region, including factions of the NSCN and ULFA, maintained terror operations involving civilian targeting into the 2010s, with over 1,000 incidents annually until sharp declines post-2014 due to intensified counter-operations. Security forces are shown ambivalently, as both protectors and enforcers of a heavy-handed central authority, with undercover agents navigating moral dilemmas and occasional excesses highlighted to underscore systemic failures. The narrative omits key real-world successes, such as the deradicalization efforts yielding over 8,000 insurgent surrenders since 2014 through rehabilitation programs and targeted negotiations, which contributed to an 80% reduction in overall insurgency incidents by 2021. Operations like the 2003 Operation All Clear in Bhutan, which dismantled ULFA camps and forced strategic retreats, and subsequent border cordons along Myanmar, are absent, potentially understating the role of precise intelligence-led actions in curbing cross-border support. Critics praising the film argue that this nuanced fosters and highlights root causes, avoiding simplistic to promote . Detractors contend it creates a false by equating militant with state responses, disregarding disproportionate victimization—where non-combatants comprised a substantial portion of casualties in pre-2014 data, including over 200 deaths annually amid extortion-driven attacks—and thereby weakening narratives of effective counter-terrorism that prioritized victim protection and surrender incentives. This selective focus, while achieving dramatic tension, has been faulted for lacking causal fidelity to the insurgencies' persistence through terror financing and foreign linkages, rather than alone.

References

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