Film

Pink

Name: Pink
Genre: Drama, Thriller
Released: 2016
Cast: Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari, Andrea Tariang, Angad Bedi

Pink is a courtroom drama about three women fighting sexual assault charges against a powerful man, guided by a retired lawyer who becomes their unexpected champion. It's intelligent, angry, and urgently political—a film that uses the legal system as both battleground and mirror. For anyone who believes cinema should have something to say about power and consent.

TMDb rating

3.7

Should you watch it?

Watch it if you like courtroom stories where the argument carries the emotional weight, and you don't mind a slow, talky build toward a fight over who gets believed.

Skip it if you want a brisk thriller or find lectures on consent and gender hard going, since the film often states its arguments outright rather than trusting the audience to draw them.

What it asks of you: At 136 minutes it moves at a measured pace, with long courtroom exchanges and a slow, watchful dread where tension grows from waiting more than from action.

Not sure? Find tonight's pick in a minute.

If you liked this

Naam Shabana2017

Taapsee Pannu leads this espionage thriller with the same fierce intelligence she brought to Pink. It's a completely different genre—action-packed, globe-trotting—but the same refusal to be diminished.

But The plot mechanics are occasionally clunky, and it leans heavily on spy-thriller conventions that can feel dated even for 2017.

Article 152019

Another Hindi-language courtroom drama that tackles caste violence and systemic injustice with similar clarity and moral urgency. Ayushmann Khurrana is excellent, and the film trusts you to understand its anger.

But It's slower-paced and more procedural than Pink—less dramatic payoff, more investigation. Some will find it exhausting rather than cathartic.

Mulk2018

Rishi Kapoor plays a Muslim man defending his family against suspicion and prejudice in a courtroom battle. It has Pink's same DNA: intelligent, principled, about who gets believed and who gets punished.

But The messaging can feel heavy-handed at times. It wants you to learn a lesson, which means it's not always as dramatically nimble as it could be.

Not sure tonight? Get a pick in a minute, starting from Pink

The wildcard

Something you would not have found on your own.

No One Killed Jessica2011

Both are about systems that are supposed to protect women but don't—one through law, one through media. Both are about the people who refuse to accept that failure.

Based on the real murder of a young woman and the media circus that followed, it's about how institutions fail women and how journalism becomes the only weapon left. It has Pink's rage but channels it through a different door—the press instead of the court.

But The tone shifts between thriller and social commentary, and not always smoothly. It can feel scattered because the story itself is scattered.

Section 3752019

A courtroom thriller specifically about rape and consent laws, told from multiple perspectives. It asks the same hard questions as Pink but from a deliberately more ambiguous angle.

But Some viewers will find that ambiguity frustrating or even offensive. The film refuses to give you a clean moral victory, which is brave and divisive.

The Morning After1986

An American film about a woman who wakes up next to a dead man with no memory—and has to navigate a system that assumes the worst about her. It's thrilling and feminist in ways '80s cinema rarely was.

But It's a product of its time in pacing and style. The film moves fast but looks dated, and some of the gender politics, while progressive then, feel incomplete now.

The Hunt2012

A Danish masterpiece about false accusation and how quickly a community turns on someone. It's the inverse of Pink—what happens when a man is accused—but equally furious about judgment and mob justice.

But It's relentlessly bleak. There is almost no catharsis here, only damage. If you watch Pink for the triumph, this will feel like punishment.

Jolly LLB2013

Arshad Warsi as a struggling lawyer taking on the system. It's lighter in tone than Pink, often funny, but it has the same DNA about underdogs using the law as a weapon.

But The humor sometimes undercuts the serious moments. It's trying to be both a comedy and a message film, and those don't always sit comfortably together.

Rang De Basanti2006

A younger generation confronting corruption and injustice. It's not a courtroom film, but it has Pink's same electricity about anger, idealism, and refusing to accept that the system works.

But It's a period piece now, and its politics can feel naive. Also, it's a very long film—know what you're signing up for.

Natrang2010

A Marathi-language film about performance, identity, and social upheaval. Completely different genre from Pink, but the same year, the same energy about speaking truth and the cost of it.

But If you don't speak Marathi or aren't used to regional Indian cinema, the pacing may feel slow. It also has almost no plot in the traditional sense.

Winter Song2015

Pink argues furiously for justice in the courtroom. Winter Song suggests that for some injustices, there is no courtroom and never will be. They're opposite approaches to the same wound.

A Palestinian-Swiss film about two people in exile, quietly dealing with memory and loss. It sounds completely removed from Pink, but it shares an obsession with injustice and the small, everyday ways we resist it.

But It's a meditative, almost wordless film. If you want narrative momentum and clarity, this will feel frustratingly slow and oblique.

The Help2011

Both films are about women giving testimony against powerful systems that don't want to hear them. Both use narrative—spoken words, written stories—as their weapon, because that's sometimes all they have.

Three women—two Black maids and a white journalist—document the systemic racism of 1960s Mississippi. It's sweeping and emotional where Pink is legalistic, but it's asking the same question: how do you make the world see you when it's built not to?

But Critics argue it centers the white woman's story and softens the real horror of what these women endured. It's a crowd-pleaser about a serious subject, which some find morally troubling.