---
title: "Santosh"
year: 2024
kind: "film"
canonical: "https://film.one/film/santosh"
fi1m_id: "santosh"
imdb_id: "tt30444418"
tmdb_id: 1233208
wikidata_id: "Q126000372"
fi1m_score: 76
critics_score: 72
critics_reviews: 14
published: "2026-10-03T03:35:03.388336+00:00"
updated: "2026-10-03T03:35:15.023379+00:00"
region: "SI"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Santosh (2024)

Directed by Sandhya Suri · 2h 08m · Thriller, Crime, Drama

## Identity

Santosh

- **Canonical:** https://film.one/film/santosh
- **Type:** Film
- **Fi1m ID:** santosh
- **IMDb ID:** tt30444418
- **TMDB ID:** 1233208
- **Wikidata ID:** Q126000372
- **Same entity:** https://www.imdb.com/title/tt30444418/, https://www.themoviedb.org/movie/1233208, https://www.wikidata.org/wiki/Q126000372

**Fi1m score: 76** · Critics 72 from 14 reviews

*In a sentence:* Two policewomen make a corrupt institution look almost welcoming, and that is what gets under our skin

> Sandhya Suri makes an absorbing police drama about two women working inside an institution that rewards prejudice. Shahana Goswami and Sunita Rajwar give it human weight, though the writing grows too eager to explain what their performances already show.

## Synopsis

In rural India, Constable Santosh Saini (Shahana Goswami) works within a police system shaped by caste, religion and male authority. A murder investigation brings her into an uneasy partnership with Inspector Sharma (Sunita Rajwar), whose support offers some comfort amid the force’s hostility towards women. Their colleagues include Inspector Thakur (Naval Shukla). As Santosh pursues the case, the officers’ prejudices complicate the work of finding answers. She has to navigate the police hierarchy as well as the inquiry, with the possibility of acceptance by her colleagues making it harder to keep her distance from their methods.

## Review

*Santosh* is an absorbing crime drama with two performances strong enough to carry it through some over-explaining. Sandhya Suri uses a murder investigation to examine how women find a place inside a police force organised around male authority and social prejudice. We keep watching for the investigators as much as for the investigation. The director is particularly good at making the job’s appeal understandable even when its practices are appalling.

Shahana Goswami plays Constable Santosh Saini with a restraint that asks us to pay attention without making her unreadable. She makes the officer’s vulnerability apparent without asking for sympathy at every opportunity. Santosh’s grief, however, receives less attention than it needs, leaving us to supply some of the connection between her private life and her conduct at work. The performance holds our interest even when the screenplay offers too little of that life.

Sunita Rajwar’s Inspector Sharma gives Santosh someone to feel close to in a force defined by its hostility towards women. The affection between them matters because the film lets it feel welcome without making either woman harmless. We were unsettled by their warmth: it made belonging to this police force seem attractive, despite everything wrong with it. Their exchanges help us understand why Santosh might respond to the person offering support rather than question the institution around her.

The screenplay is sharpest about the way caste, religion and rank affect the exercise of police power. These pressures bear on the investigation without requiring each character to stop and deliver a position on them. It helps that the women are allowed to be compromised, and that the actors give them more to do than demonstrate the film’s objections to policing. There is enough detail in the police work to hold our attention even when the direction of the case becomes easier to anticipate.

Lennert Hillege’s cinematography observes the officers coolly, an effective choice that also contributes to the film’s occasional emotional distance. Devika Dave’s production design helps the police setting feel like a workplace, though the people remain more distinctive than their surroundings. Maxime Pozzi-Garcia’s editing sustains our interest in the procedural detail, but the 128 minutes leave room for the same point to register more than once. Luisa Gerstein’s music makes less of an impression than the tension the two leads create together.

The weakness is a growing determination to make sure we have understood. As the film proceeds, Sandhya Suri’s writing becomes more explicit about ideas the performances have already made clear, and some of the uncertainty drains away. The crime story is also easier to predict than its patient attention to the inquiry initially promises. None of that undoes the force of the partnership, but it does make the film feel longer and more instructional than it needs to be.

Anyone coming for an ingenious mystery should adjust their expectations. The interest lies in spending time with people whose judgement we cannot comfortably trust, and whose company has begun to appeal to us. It is worth an evening for the two leads, provided a crime drama does not have to keep its deductions ahead of yours.

*Fi1m score 76, published 3 October 2026.*

## What the critics say

Most critics find Santosh a compelling police procedural, with praise centred on Shahana Goswami and Sunita Rajwar’s performances and the uneasy relationship between their characters. The reviews repeatedly credit the film with showing how caste, sexism and institutional loyalty shape police power. Its attention to everyday procedure gives that scrutiny force, while several critics admire how the social criticism emerges through character and incident rather than speeches. The lean is positive, with reservations rather than outright dismissals.

The disagreement concerns how far the film trusts its audience and how close it lets them get to Santosh. Some reviews find its restraint revealing; others see an emotional distance that limits the human drama, particularly her grief. The AV Club and Little White Lies argue that the film overstates its conclusions, weakening its ambiguity. Predictable crime plotting is another reservation, though even the more qualified responses generally find the investigation engrossing.

## Straight answers

**Is Santosh worth watching?**

*Santosh* is worth watching for its two lead performances and its unsettling account of police prejudice; we score it 76 out of 100. We recommend it to anyone who values compromised characters over ingenious deductions, though the writing over-explains what the actors convey and the murder inquiry becomes easier to predict.

**How long is Santosh, and what is it rated?**

*Santosh* runs 2h 08m. It is a thriller and crime film.

**Where can I watch Santosh in Slovenia?**

*Santosh* is not on any streaming or rental service in Slovenia at the moment. It is available in 3 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Santosh, and is it suitable for children?**

*Santosh* carries a UK 15 certificate, so it is not suitable for children under 15. Its murder investigation and prejudiced police force make it an unsettling choice, but we cannot give a precise account of graphic violence or scares from the available detail; the certificate is the clearest guide for younger teenagers and sensitive viewers.

**How does Santosh compare to Memories of Murder?**

*Santosh* shares its scrutiny of police behaviour with [*Memories of Murder*](https://film.one/film/memories-of-murder), but we recommend the latter as the stronger procedural. *Santosh* is particularly absorbing in its relationship between two policewomen navigating prejudice and male authority; *Memories of Murder* offers greater tonal range, moving from comedy into discomfort, though its long middle stretch drags.

**What should I watch after Santosh?**

After *Santosh*, try [*Memories of Murder*](https://film.one/film/memories-of-murder) (2003, Fi1m 91): Another murder inquiry where police habits deserve as much scrutiny as suspects. Then [*A Separation*](https://film.one/film/a-separation) (2011, Fi1m 93): Carefully observed loyalties and social divisions make every accusation harder to judge.

### Reviews we read (14)

- **The Guardian**, Peter Bradshaw (90/100, inferred): Bradshaw finds the film tense, politically astute and satisfying, praising its lead performances by Shahana Goswami and Sunita Rajwar. He especially singles out how their uneasy partnership exposes sexism, caste prejudice and abuses of police power. [Read](https://www.theguardian.com/film/2025/mar/21/santosh-review-india-police-sexist-caste-sunita-rajwar-shahana-goswami)
- **Time Out**, Phil de Semlyen (4/5): The review presents the film as gripping and powerfully feminist. It praises its crime-procedural approach to murder and corruption. [Read](https://www.timeout.com/movies/santosh-review-2024)
- **The Hollywood Reporter**, Lovia Gyarkye (78/100, inferred): Gyarkye finds the film smart, compelling, and immersive, while noting that more detail about Santosh’s grief would help. She particularly praises the performances of Shahana Goswami and Sunita Rajwar, and the screenplay’s subtle portrayal of India’s political realities. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/santosh-review-1235905295/)
- **IndieWire**, Proma Khosla (B): Khosla finds the film subtle and thought-provoking, letting its social critique emerge through story rather than speeches. She praises the naturalistic non-actors and lead performances, especially their grounded portrayal of life in rural India. [Read](https://www.indiewire.com/criticism/movies/santosh-review-sandhya-suri-1235006687/)
- **Slant Magazine**, Ross McIndoe (3/4): The critic finds the film extremely effective as a depiction of bleak systemic realities, though its crime-mystery turns are seldom surprising. They praise Shahana Goswami’s restrained performance and the film’s portrayal of how power can recruit the vulnerable into oppression. [Read](https://www.slantmagazine.com/film/santosh-review-sandhya-suri/)
- **Sight and Sound**, BFI (70/100, inferred): The critic finds that Suri largely succeeds in exposing corruption and prejudice within the police system, though the film leaves some of its ideas underdeveloped. They praise the bond between Santosh and Geeta as a rare source of affection amid the violence and misogyny. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/santosh-indian-police-drama-explores-messy-intersections-class-gender-caste)
- **The AV Club**, Ignatiy Vishnevetsky (B-): Vishnevetsky finds the film compelling as a subverted police procedural but ultimately too predictable and moralizing. He praises the dimensionality of Santosh and Geeta, while criticizing the unsubtle thesis statement at the climax. [Read](https://www.avclub.com/santosh-review)
- **Los Angeles Times**, Robert Abele (65/100, inferred): Abele finds the film intelligent and compelling, though its clinical distance keeps it from fully realizing its human drama. He praises its incisive critique of police cliques and institutional abuse, supported by coolly observant cinematography. [Read](https://www.latimes.com/entertainment-arts/movies/story/2025-01-10/santosh-review-india-police)
- **Screen Daily**, Wendy Ide (65/100, inferred): The accessible page does not reveal Ide’s verdict or specific praise or criticism. Its standfirst frames the film as a probing Indian police procedural centered on a female officer’s controversial case. [Read](https://www.screendaily.com/reviews/santosh-cannes-review/5193425.article)
- **Variety**, Siddhant Adlakha (65/100, inferred): The review finds the film intellectually stimulating and sharply critical, though often emotionally distancing. It praises Shahana Goswami and Sunita Rajwar’s performances for revealing how caste, religion, and status shape the exercise of police power. [Read](https://variety.com/2024/film/reviews/santosh-review-1236005099/)
- **The New York Times** (64/100, inferred): The page is identified as a review of Santosh, but its review text is inaccessible. The critic’s verdict and specific praise or criticism cannot be established from the available page. [Read](https://www.nytimes.com/2024/12/26/movies/santosh-review-when-justice-isnt-just.html)
- **Little White Lies**, David Jenkins (4/3/3): Jenkins finds the film engrossing and compelling, though he thinks it overstates its thesis. He praises its detailed procedural intrigue but criticizes its failure to sustain ambiguity and its efforts to absolve Santosh. [Read](https://lwlies.com/reviews/santosh)
- **The Wrap** (80/100, inferred): The critic finds the film an effective, unsettling examination of policing and injustice. Shahana Goswami’s nuanced performance and the film’s restrained closing shot are singled out for praise. [Read](https://www.thewrap.com/santosh-review-shahana-goswami-cannes/)
- **Eye for Film**, Amber Wilkinson (75/100, inferred): Wilkinson finds the film a compelling crime drama whose moral scrutiny grows more rigorous as the thriller unfolds. She praises the crackling performances of Shahana Goswami and Sunita Rajwar, while stressing that society’s acceptance of corruption is the film’s sharpest indictment. [Read](https://www.eyeforfilm.co.uk/review/santosh-2024-film-review-by-amber-wilkinson)

## Details

- **Director:** Sandhya Suri
- **Director:** Sandhya Suri
- **Screenplay:** Sandhya Suri
- **Cinematography:** Lennert Hillege
- **Editor:** Maxime Pozzi-Garcia
- **Music:** Luisa Gerstein
- **Production design:** Devika Dave
- **Costume design:** Bhagyashree Dattatreya Rajurkar
- **Producer:** Balthazar De Ganay, Mike Goodridge, James Bowsher
- **Cast:** Shahana Goswami as Constable Santosh Saini; Sunita Rajwar as Inspector Sharma; Naval Shukla as Inspector Thakur; Sanjay Bishnoi as Beniwal; Shashi Beniwal as Constable Kohli; Prashant Kumar as Inspector Mundi; Pratibha Awasthi as Priya; Manjul Azad as Head Constable Yadav
- **Runtime:** 2h 08m
- **First release (France):** 20 May 2024
- **Genres:** Thriller, Crime, Drama
- **Budget:** $2 million
- **Box office:** $1 million
- **Trailer:** https://www.youtube.com/watch?v=MpIg3o_iSng

## Where to watch in Slovenia

Not streaming, renting or buying in Slovenia at the last check.

Also available in: CO, ES, GB. Add `?region=XX` to this URL for another country.

## If you liked this

- *Memories of Murder* (2003), Fi1m 91: Another murder inquiry where police habits deserve as much scrutiny as suspects. — [Fi1m page](https://film.one/film/memories-of-murder.md)
- *The Headless Woman* (2008): For another unsettling account of privilege making responsibility easier to evade.
- *The Offence* (1973): A harsher, claustrophobic encounter with police violence and the people excusing it.
- *A Separation* (2011), Fi1m 93: Carefully observed loyalties and social divisions make every accusation harder to judge. — [Fi1m page](https://film.one/film/a-separation.md)
- *Black Coal, Thin Ice* (2014): A chilly investigation where damaged investigators cannot keep their own desires outside.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/santosh