Directed by Sharan Koppisetty, Cheekatilo is a murder mystery starring Sobhita Dhulipala. While the film offers some relevant commentary on patriarchy, it ultimately falls back on familiar clichés of the investigative thriller genre.
Murder mysteries and investigative dramas usually thrive on suspense, tension, and high-stakes storytelling. Traditionally, most whodunnit thrillers feature a male protagonist spearheading the investigation. Telugu film Cheekatilo breaks this pattern by placing the bold Sobhita Dhulipala at the centre of a murder mystery, instantly setting it apart from others in the genre. But does it successfully reinvent the formula? Let’s take a closer look.
Sandhya Nelluri (Sobhita Dhulipala) is a television anchor and journalist who hosts a crime-based show. Despite having studied criminology in college, her knowledge finds little use in her job, as the channel prioritises sensationalism over ethical storytelling. Disillusioned with promoting shock value instead of meaningful true-crime narratives, Sandhya quits her job after a confrontation with her boss.
Encouraged by her energetic friend Bobby, Sandhya decides to follow her passion by launching a podcast that explores crime stories in depth. However, before the podcast can take off, Bobby and his partner are brutally murdered by an unknown assailant. Determined to seek justice, Sandhya joins hands with the police to investigate the case. As the probe progresses, a distinct pattern in the killings emerges, pointing towards a masked killer. Sandhya and the police must now uncover his identity and the motive behind the crimes.
Director Sharan Koppisetty’s Cheekatilo draws its biggest strength from the way Sandhya’s character is written. Once silenced as a child, Sandhya grows into a woman who fearlessly stands up for what is right. She appears to have a fulfilling life, with a promising career, a supportive partner Amar (Viswadev Rachakonda), and a loving family. Yet, a traumatic childhood incident continues to define her, and the investigation ultimately helps her find closure.
While it is refreshing to see a woman leading an investigative thriller, Cheekatilo struggles to escape genre clichés. Like many suspense dramas, it keeps one character in the background, only to later reveal them as the villain. The film leans heavily on this trope, but the justification behind the twist lacks conviction. The final reveal may remind viewers of Kamal Haasan’s classic Sigappu Rojakkal.
As is common in murder mysteries, the police are portrayed as slow to piece together clues and are frequently outsmarted by Sandhya. Set against the backdrop of Godavari, the film deals with themes of rape and murder involving both women and men. However, the repetitive depiction of sexual violence becomes excessive. Given that the film aims to critique patriarchy and encourage survivors to speak up, it could have avoided graphic scenes that may be triggering.
The film’s highlight is Sobhita Dhulipala’s powerful monologue in the climax, which urges women not to remain silent and advocates empathy for survivors of harassment and assault, regardless of gender.
Overall, Cheekatilo succeeds in addressing trauma and its impact, but the investigative aspect loses its punch due to predictable and clichéd storytelling.
