For every actor, there is a role that unlocks their untapped talent and pivots their career. Vikrant Massey’s latest outing in Netflix’s Sector 36 as a psychopathic killer might just be it. While Massey has done his fair share of negative roles in the past, his on-screen persona this time is enough to send a shiver down your spine. In this Netflix original that tells a fictionalised story based on true events from 2006 Noida serial murders, the actor plays Prem Singh, a predator behind the mysterious disappearance of several kids from a slum in the titular Sector 36.
With an unnerving sense of pride and fascination, he preys on his victims, dismembers them craftily, engages in necrophilia, and sometimes even feasts on their remains – without a flinch. If anything, these carnal acts bring him catharsis, nudging the psychopath into a celebratory trance. In a scene we see him lying on the sofa basking in the satisfaction of successfully butchering a woman after she failed to reciprocate his romantic feelings.
Deepak Dobiryal plays a corrupt cop who later has a change of heart and gets invested in the case
Massey’s portrayal of a paedophilic cannibal is one of the finest, most disturbing performances you’ll see in recent times. The seasoned actor has picked up on the subtlest twitches and muscle movements of a pathological killer with an unsettling brilliance. Even the most gruesome of his acts are punctuated by moments of immense satisfaction and a troubling degree of nonchalance. Massey’s Prem Singh works as the help at a businessman’s house. If you’re aware of the real-life Nithari case, you won’t be surprised that the film implicates the house owner in the heinous crimes, as well. Sector 36 frames the murders as part of a larger organ trafficking ring. But for Massey’s character, these acts aren’t just him following his boss’ orders, but rather a crime of passion that keeps him sane: and Massey has worn the skin of this sick bastard perfectly.
The film’s inspiration, the infamous and gruesome Nithari case, shook the nation and pushed India to a dark spot internationally. More than 16 children and women were sexually abused, murdered, served in dish plates, and dumped in drains.
The Netflix version doesn’t waste time in giving an elaborate context and establishing a sense of suspense. Within the first ten minutes, we witness necrophilia, gory mutilation of a limb, and bags of flesh floating down the drain. We know that Massey is the culprit and that he is destined to be caught. With a stream of blood flowing down a rotten commode comes the title sequence, setting the tone for the several gory scenes that follow. We see organs being packed and sent off like parcels, lines of decaying skulls on display, femurs floating in drains, and more.
The cinematography in Sector 36 is quite impressive
Deepak Dobriyal plays the corrupt police officer who starts taking the mysterious disappearance of slum kids seriously after a tragedy hits home. Thus begins his quest of digging for the truth and dragging the culprit behind bars, even as the police department remains reluctant to do more.
However, the film doesn’t cover the exhaustive investigation behind the case, or the expansive network of organ trafficking linked with it. Dobriyal does a shallow dig up for truth and the trafficking part is wrapped in not more than three scenes at a dingy clinic that serves as the hub for organ trade. The film also conveniently avoids the judiciary aspect of the case, probably because even after 17 long years of courtroom trials, the culprits walked away free.
Aditya Nimbalkar’s film tries to limit its focus mainly to the twisted psyche of the killer, rather than delving deep into other aspects. While it’s understandable that Nimbalkar wanted to pick on a singular aspect, a brief conclusive narration of the final decision of the court might have been better. Maybe the debutant director wanted to avoid a disappointing end for his film, by ending it on a hopeful note.
Akash Khurana’s character is based on Moninder Singh Pandher, who was one of the suspects in the Nithari case
The film isn’t gratuitous with the portrayal of heinous acts like necrophilia, paedophilia, and cannibalism. Besides the gory visuals and suggestive background scores, Massey’s masterful expressions and body language prove powerful tools of storytelling, making the film even more impactful. The way his eyes light up at the site of a corpse or the way he sizes up a tied-up toddler, captures the horror of the act he’s about to commit. Bodhayan Roychaudhury’s clever writing and intense dialogue further add to the nuanced storytelling. The subject is handled with the care and sensitivity these incidents deserve, avoiding tasteless and sensational exploitation while still conveying their inhumanity.
The film also excels in Saurabh Goswami’s impressive cinematography, which incorporates plenty of visual metaphors and symmetric frame compositions, adding to the story’s depth. There is a particularly intriguing scene where Massey is confessing his crime to a police officer, positioned at an equal distance from the camera as him. It’s hard to ignore the depth that the framing induces, besides, of course, the spine-chilling performances of Massey and Dobriyal.
If it wasn’t for the dark subject matter, you’d be forgiven for comparing the framing in Sector 36 to Wes Anderson’s signature symmetry. While the camera in Anderson’s quirky films convey a playful storybook aesthetic, here it has an off-putting effect.
Sector 36 offers plenty of visually stunning frames
The lighting too comes into play as a storytelling element, along with visual metaphors. Different moods are depicted in various hues, sure to catch the attention of keen cinephiles. Swirling shots of round staircases accompany moments of brain-teasing mysteries, masked showpieces make a backdrop for heinous criminals masquerading as respected members of the society, and the slum-dwelling kids’ abduction is shortly followed by the depiction of Goddess Sita’s abduction by Ravana in a Ramleela fair. Even the butchering has a soundtrack in the form of Lata Mangeshkar’s “Man Kyoon Behka Re Behka Aadhi Raat Ko”, which translates to a wandering mind in the middle of the night.
Nimbalkar’s masterful portrayal of the Nithari case strikes a perfect balance between fact and fiction, avoiding the pitfalls of a dry documentary-style approach. The film maintains its cinematic allure while remaining faithful to the true events, evoking a sense of horror and unease that will leave you shaken. It successfully combines the power of good screenplay, thoughtful cinematography, and chilling performances, creating a compelling narrative that will haunt you. Massey’s standout performance is particularly noteworthy, poised to propel his career to new heights. By skilfully weaving together these elements, Nimbalkar has crafted a film that will leave a lasting and disturbing impact on audiences.
Rating: 7.5/10
