Review: Kohrra (2023)
Since the pandemic, we have seen an increase in the stories told based in small towns and characters. Each of these stories infuse aspects of these towns and settlements which we as viewers always go back to – be it a Panchayat, which brought out the simple pleasures of life and friendship in an Indian village; or a Badhaai Do, which brought out the concept of lavender marriages in small town cities of India. Small towns or specific places offer authenticity to build on a character and universe. And this is fantastically done in Netflix’s new show Kohrra, which transforms the tranquil Punjabi landscape into a haunting world of cop buddies, drugs, NRI lives, and patriarchy.
Writer and now producer Sudip Sharma returns to the world of disgruntled cops and crime with this show. Directed by Randeep Jha, both history and geography play a pivotal role in Kohrra, in which a murder mystery ends up being an incisive reading of the contemporary landscape of Punjab and the Punjabi psyche.
Suvinder Vicky and Barun Sobti play Balbir and Garundi, two cops who investigate the murder of an NRI in Netflix’s Kohrra.
The show, at its heart is about an NRI who comes back home to get married, but is murdered just a few days before his wedding. On the night of the murder, his best friend goes missing. Two cops Balbir and Garundi, played by the phenomenal Suvinder Vicky and Barun Sobti respectively put into motion an unwavering investigation, which eventually brings to the forefront the complexities of Punjab’s transport segment, the NRI side of middle class inhabitants and ideas on family politics, unresolved childhood trauma, hidden sexual identities, and intergenerational enmity.
The show balances its intrigue with elaborate character development. There is a lot of establishment – flashbacks, family portraits, inexplicable tension etc. But where Kohrra wins is its casting. Both Vicky and Sobti play ‘faces in the system’ struggling to deal with their personal griefs along with investigating the murder case – blurring the lines between personal and professional – but I think the links are blurry on purpose.
Infact, the whole ensemble is terrific – Harleen Shetty, Varun Badola, and Manish Chaudhari, along with Vishal Handa who brings his incredible talent to Paul; Surav Khuranna to the enigmatic Saakar. Interestingly, Rachel Shelley makes a comeback to Indian screens after her role in Lagaan as Carla, a mother figure to Paul’s best friend. Watch out for the cab she gets out off during her entry – “Captain Russel Cabs”, paying homage and almost reminding us of her enigmatic and empathetic personality from Lagaan.
Rachel Shelley’s entry in Kohrra is when she steps out of a “Capt. Russel Cab”, paying homage to the 2001 film Lagaan and reminding us of her empathetic character of Elizabeth.
The camera work by DoP Saurabh Monga is slow and simple. It does not feel too intrusive. Every scene is carefully staged and shot with visual information and care. This convinces us that the police are scrutinising people and real lives, and not just characters. Kohrra does not provide just a narrative smokescreen. The ominous tone and setting in its soundscape aid to the fact that the characters in the show are fogged by their delusionto distract themselves from the truth.
Overall, the commentary of the show is stimulating. Writers Gunjit Chopra and Diggi Sisodia have woven in fine detail which has a staggering impact and often leaves you to think. Just like a walk through the morning mist, It is not apparent at first until it is all clear at the end.
You can watch Kohrra on Netflix.
