Sector 36

Aditya Nimbalkar’s Sector 36, streaming on Netflix, takes inspiration from the real-life story of the 2005-2006 NOIDA serial murders. While it is an effectively gritty and even gripping film that unapologetically explores the gruesome killings, Sector 36 fails to bring out the narrative’s nuances and complexities, settling down as just another well-made though simplistic thriller.

Set in 2005, Sector 36 sees Prem (Vikrant Massey) work as a house helper for an affluent businessman, Balbir Singh Bassi (Akash Khurana), in a suburban apartment block in Sector 36 in NOIDA while his wife and children live in the village. When his employer is away, Prem abducts young boys and girls from the migrant slum of Rajiv Colony, brings them to the apartment and brutally murders them. He then disposes of the victims’ mutilated bodies down a drain. The area’s sub-inspector, Ram Charan Pandey (Deepak Dobriyal), is reluctant to file any FIR or conduct an investigation due to a lack of manpower. However, one evening, a masked Prem fails to kidnap Pandey’s daughter, Vedu (Ihana Kaur), at a Dushhera fair. Pandey chases him but is unable to catch him. Realizing the importance of catching the killer after the danger almost hits his home, Pandey begins to investigate the case of a missing woman, Chumki (Tanushree Das), only to find a connection to Prem and Bassi…

Within minutes into the film, we observe Prem cold-bloodedly dismembering the body of a dead girl in a bathroom. As her blood trickles down the toilet, the film’s title appears, indicating that it’s not for the faint-hearted. Nimbalkar, along with his screenwriter, Bodhayan Roychaudhury, churns out scene after scene, creating momentum in the film with events unfolding in a manner that holds our attention. The characters feel real, as do the gruesome acts. Sadly, it quickly takes a turn into all too familiar territory as Sector 36 relies on tried and tested tropes of police procedural crime dramas. The final moments of the film are handled in a way that feels disconnected from the earlier treatment of the story. The song Damroo, which plays during the arrest of Bassi and Prem, undermines the serious intent that the film has maintained up to that point. Such random shifts make us lose some interest in the film.

When Pandey’s character is introduced, we learn that he has never dared to challenge the system, fearing that if he were to do so, he would be crushed like a cockroach underfoot. As his superior, DCP Jawahar Rastogi (Darshan Jariwala), points out, ‘IPS’ stands for ‘In Politician’s Service’, highlighting the corruption and bias within the law enforcement system. Pandey is suspended when he uncovers the connection between Chumki and Prem and reports it to Rastogi. Prem happens to be the servant of Bassi, a close friend of Rastogi, highlighting how the powerful manipulate justice to protect their own. When a new acting Superintendent of Police, Saikia (Baharul Islam), is appointed to replace Jawahar, Pandey feels optimistic about bringing the criminals to justice. But even this hope quickly fades into disappointment.

Prem is also aware of the flaws in the system, knowing that Bassi is there to protect him from his crimes. All the children he has murdered belong to the lower rungs of society, people whom no one cares about. When the children from Rajiv Colony keep disappearing, they are reduced to posters on neighbourhood walls or notices on the police board. However, when a wealthy businessman’s child is kidnapped from the posh Geeta Colony in broad daylight by two masked assailants, the child is recovered within two days.

Viewers who loved Vikrant Massey’s Manoj Kumar Sharma from 12th Fail (2023) will completely abhor Prem. Massey infuses the sadistic and brutal traits of the character with a chilling, cold-blooded demeanour. Deepak Dobriyal convincingly portrays the inner conflicts of a diligent police officer whose change of heart occurs only after his family faces danger. The supporting cast, featuring Akash Khurana, Darshan Jariwala, and Baharul Islam are reliably efficient.

Cinematographer Saurabh Goswami captures the tones, texture, and nuances of this story through vivid imagery, keeping intact the dark undertones of the film. The editing by A Sreekar Prasad showcases his virtuosity, establishing a slick pace and tempo that creates a smooth flow throughout the film. The sound design by Mandar Kulkarni features a sensitive approach that perfectly aligns with the sombre atmosphere of the film. When the knife pierces the body, we can feel the brutality of the act and the barbaric nature of the violence. The production design by Subrata Chakraborty and Amit Ray adds authenticity to the realistic setting. Ketan Sodha’s background score has a brooding and suspenseful quality enhancing the film’s tension.

Sector 36 tells its story energetically and sincerely.  However, the black-and-white treatment of the narrative prevents it from achieving its maximum effectiveness.  Nonetheless, it is a promising enough debut for Nimbalkar, marking him out as a filmmaker to watch out for.