‘Pinch' Review: Taut Debut Highlights One Woman's Response to Sexual Harassment — and Complicity
'That just happens.'
More from IndieWire
Studio Ghibli at 40: Can an Ethical Animation Studio Still Exist, or Even Survive?
'Eddington' Trailer: Ari Aster's Western of Pandemic Paranoia Hits Theaters After Dividing Cannes
This is not exactly a scene from Uttera Singh's 'Pinch,' but similar enough and entirely true. Her debut feature and 2025 Tribeca Festival premiere takes on a small piece of a big topic, delivering not only a gripping and nuanced narrative but an astutely told directing effort.
Writer and director Singh plays Maitri, whose life takes a sharp turn when her landlord gropes her on a bus and she retaliates in kind. Soon, the incident involves Maitri's mother, their neighbors, and the small community living in their building, where the man serves as landlord and wields all the power.
'Pinch' is definitionally a film about assault; a woman being groped on a bus or pinched in a crowd is still wrong even if it's not rape, a point that Maitri makes explicitly. It's shocking, distressing, inappropriate, and worth condemning, and her conviction rattles everyone around her. Mother Shobha (Geeta Agrawal) begs her to forget about it — about something that happens to every woman at some point, she says — but the film doesn't fall into the trap of villainizing her. Singh writes Shobha with tangible empathy for the generation before her, for mothers and aunts who normalized sexual misconduct because they felt there was no other choice. She ends up being a critical confidante for Maitri as the film goes on, criticizing and comforting her in equal measure as only a mother can.
The ensemble is equally strong, giving grounded performances that strengthen the community dynamic; Sunita Rajwar as a neighbor who comfortably walks over Shobha, Badri Chavan as Maitri's pal Samir (and the more successful vlogger among them), and Sapna Sand as Rani, the imperious wife of Maitri's attacker. Together, they embody societal notions of respect, stubbornness, and principle — the old Indian refrain of 'Log kya kahenge?' — and walking reminders of how treacherous it is to ignore and doubt survivors.
Singh and cinematographer Adam Linzey opt for tight, tense tracking shots, placing viewers firmly in Maitri's mind and space as she navigates the ripple effect of her assault and escalating discomfort with hiding the truth. Raashi Kulkarni's score periodically deploys influences from Indian classical music, with an actor on screen to perform the rhythmic syllables. The film derives locational specificity not from city or region, but from the apartment building and local community, adding deliberate claustrophobia to the overall narrative tension.
In a statement for the show's press materials, Singh expressed hope that 'Pinch' will start essential conversations between generations and genders, because no group can be tasked with liberating itself in isolation. In her hands, 'Pinch' is the kind of film that leaves the viewer invigorated instead of weary — and ready to follow the rest of Singh's career.
'Pinch' premiered at the 2025 Tribeca Festival. The film is currently seeking U.S. distribution.
Want to stay up to date on IndieWire's film reviews and critical thoughts? Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best reviews, streaming picks, and offers some new musings, all only available to subscribers.
Best of IndieWire
The 25 Best Alfred Hitchcock Movies, Ranked
Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
13 hours ago
- Yahoo
The One Thing ‘Superman' and ‘Fantastic Four' Can Agree on? Origin Stories Are Over
[Editor's note: The following article contains some spoilers for both 'Superman' and 'The Fantastic Four: First Steps.'] It long ago became a familiar refrain for both this writer and plenty of other critics, journalists, film fans, and superhero stans: We're done with origin stories. And while the ever-expanding nature of both the Marvel Cinematic Universe and the spruced-up DC version requires the seemingly constant addition of new heroes and new stories, which, in turn, mean more movies and TV shows that chronicle how these super-beings came to be, it's time to call time on those heavy-hitter origin tales. More from IndieWire Is 'Fantastic Four' a Marvel Reset or Another Step Backward? Screen Talk Reviews the Film and Previews Fall Festivals 'Monk in Pieces' Review: Billy Shebar's Vital Documentary Makes Sense of an Artist Who's Always Defied Basic Understanding We know why Batman is Batman, how Spider-Man became Spider-Man, and that Superman is an extraterrestrial. That's a lesson that both of this summer's big superheroic releases — James Gunn's delightful DC franchise reset 'Superman' and Matt Shakman's less successful MCU entry 'The Fantastic Four: First Steps' — both intrinsically understand and honor. Both films open after our titular heroes have become, well, heroes. Gunn's film not only opens after his Clark Kent (David Corenswet) has crash-landed on Earth from his native Krypton, but also after he's come to terms with his powers, grappled with growing up in Smallville, become Superman as we know him, moved to Metropolis, gotten a job at the Daily Planet, met Lois Lane, told Lois Lane who he is, and set about saving the world one squirrel at a time. That's a tremendous amount of ground to cover and more than enough for its own film — or, as we've seen over the past 87 years the hero has been in the zeitgeist, more than enough for multiple films, TV series, shorts, radio plays, even a musical, and a little thing called comic books — and is simply not required anymore. Jumping into the Superman story in medias res doesn't mean that we're robbed of enjoying the building blocks of how something came to be, but that we get to enjoy the story from a different starting point. Seeing how Lois Lane (Rachel Brosnahan in Gunn's film) reacts to discovering that Clark and Supes are the same person? That's not nearly as interesting or fresh as watching her grapple with that dichotomy, over and over, and in different situations. Similarly, Gunn's film doesn't push any superhero-to-superhero meetings on the audience; instead, when Superman joins a fight alongside the so-called Justice Gang, we get to observe relationships that are already in place. What a relatively small touch — hey, these people know each other — that pays off big time. Gunn and company are in the midst of something of a DC reset, which affords them the opportunity to take on seemingly risky things like 'not having to remind us that Superman is literally from space and also Clark Kent,' but even before this new iteration of DC screen lore, Warner Bros. was starting to dip its rubberized wings into less origin-centric superhero stories. Matt Reeves' 'The Batman' (which is, and we're getting deep here, not actually part of the overall DC superhero franchise, but is its own thing, called the quite-chewy 'Batman Epic Crime Saga') similarly works off a baseline understanding of the Caped Crusader (Robert Pattinson). And while, yes, Bruce Wayne's beloved dead parents and their horrific deaths are included in the film, it doesn't play out as a traditional origin story. Consider it a happy side effect of the film's earliest incarnations, when Ben Affleck was going to direct and star in his own Batman movie, after his Bruce had already been 'introduced' in other DCEU films. For once, development hell has rewards. Much like 'Superman,' Shakman's 'Fantastic Four' opens four years (you get it, right?) after the titular superhero family was turned into cosmically powered individuals after a spaceflight gone bad. Because of the alternate Earth the fab four inhabit, the energetic opening of Shakman's MCU film not only gets to show off the superhero clan, but the retrofuturistic world they protect. It's the highlight of the film, a zippy and genuinely fun way to introduce the group (including Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, and Joseph Quinn) within the confines of their kitschy planet (which is also, incidentally, filled to bursting with citizens who adore them). Cleverly packaged as a TV chat show introduction to the famous group, Shakman finds the space to introduce the heroes, their world, and even show off some of their exploits (from befriending Mole Man to vanquishing, as best we can tell, a bunch of super-smart apes). For fans of the comic book heroes, it's an opening full of classic storylines and some 'hey, I get that reference!' nods. For newbies, it's a whiz-bang trip through lore that sets up the story to come. Mostly, it's refreshing. Consider this year's other MCU entries, including 'Captain America: Brave New World' and 'Thunderbolts,' both of which require a high level of franchise knowledge to really stick, including the consumption of multiple movies and TV shows (and, and this is essential, a solid memory when it applies to all of them). If you're an MCU fan, that's a lot of time spent to 'get' a film or two. If you're just a casual watcher of the movies, it's nearly insurmountable. Let's stop that now. 'Superman' and 'The Fantastic Four: First Steps,' lead the way. That's heroics we can get behind. Both 'Superman' and 'The Fantastic Four: First Steps' are now in theaters. Best of IndieWire The 16 Best Slasher Movies Ever Made, from 'Candyman' to 'Psycho' Martin Scorsese's Favorite Movies Include 'Eddington': 87 Films the Director Wants You to See The Best Thrillers Streaming on Netflix in July, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal'
Los Angeles Times
15 hours ago
- Los Angeles Times
‘Eddington' actor Micheal Ward charged with rape and sexual assault in U.K.
British actor Micheal Ward, known for the Netflix series 'Top Boy' and and most recently Ari Aster's movie 'Eddington,' is facing charges of allegedly raping and sexually assaulting a woman in the United Kingdom in 2023. London's Metropolitan Police announced in a Friday statement that prosecutors had charged BAFTA winner Ward, 28, with two counts of rape and three counts of sexual assault following an investigation into an alleged January 2023 incident. The statement did not provide details about the incident, including the location and the identity of Ward's accuser. 'Our specialist officers continue to support the woman who has come forward — we know investigations of this nature can have significant impact on those who make reports,' Det. Supt. Scott Ware said in the statement. Representatives for Ward did not immediately respond to The Times' request for comment Friday. The actor is due to appear at Thames Magistrates' Court in London on Aug. 28. Ward, who was born in Jamaica, broke into acting less than a decade ago, appearing in the British drama series 'Top Boy' and rapper Rapman's 2019 film 'Blue Story.' He won BAFTA's rising star award in 2020. That same year he appeared in 'The Old Guard' opposite Charlize Theron and in Steve McQueen's 'Small Axe' miniseries. His movie credits also include Sam Mendes' 'Empire of Light,' 'The Book of Clarence,' 'Bob Marley: One Love' and 'The Beautiful Game.' He currently stars as a young police officer in 'Eddington,' the latest film from 'Hereditary' and 'Midsommar' filmmaker Aster.
Time Magazine
15 hours ago
- Time Magazine
The Complex Ending of Indian Thriller 'Mandala Murders'
Mandala Murders, a gripping Indian crime thriller series on Netflix, follows detective Rea Thomas as she investigates a series of ritualistic murders in the fictional remote town of Charandaspur. Over eight episodes, the show unravels a chilling mystery involving a secret cult called the Aayastis, who are attempting to create a god-like being named Yast by assembling human body parts according to an ancient ritual. The series blends crime investigation, supernatural lore, and political intrigue, revealing how deep-rooted beliefs and family legacies can drive people to horrific acts. Throughout the season, viewers are drawn into a complex web of betrayal, faith, and moral ambiguity. The story contrasts the personal journeys of Rea and Ananya Bhardwaj, two women connected by their grandmothers' opposing roles in the cult's dark history. The finale ties together these threads, offering answers but leaving enough open to hint that the saga is far from over. What is Yast and why does the cult want to create it? At the heart of Mandala Murders is the myth of Yast, a man-made god envisioned by the Aayastis cult. Yast is a being constructed by piecing together what they see as the ideal human body parts from various victims, inspired by the concept of the Vitruvian Man and ancient Indian spirituality. The cult believes that through this unnatural creation, they can usher in a new divine era—one in which Yast will reign supreme, transforming the world and cleansing it of those deemed unworthy. This god is not just a spiritual ideal but a symbol of ultimate power and control. The cult's ambition to resurrect Yast reflects a dangerous blend of fanaticism and pseudo-science, where ancient rituals meet modern technology. However, the price of this resurrection is horrifying: the ritual requires numerous human sacrifices, with each victim selected for specific body parts that will complete the divine vessel. This blend of science, mysticism, and brutality drives the narrative and raises questions about the cost of blind devotion. The ritualistic murders and the mandala pattern The murders committed by the Aayastis are not random but carefully orchestrated rituals. Each victim is chosen for a particular body part—such as a limb, face, or other distinctive attribute—that fits into the cult's grand design of Yast's body. The killings follow the geometry of a mandala, an intricate spiritual symbol representing cosmic order and balance. This pattern connects the crime scenes and serves as a symbolic map for the cult's progress toward creating Yast. This methodical approach to murder highlights the cult's cold precision and the extent of their fanaticism. The mandala pattern is a dark twist on spiritual symbolism. While mandalas are typically associated with harmony and enlightenment, here they become the blueprint for ritual slaughter. The series uses this contrast to underscore the warped ideology behind the Ayastis' mission, showing how religious symbolism can be twisted to justify horror. Ananya and the legacy of Rukmini Devi Ananya Bhardwaj, a prominent political figure in Charandaspur, is revealed as a key antagonist who is determined to continue the cult's work. She is the granddaughter of Rukmini Devi, the original founder of the Ayasthis' project in the 1950s. Rukmini's vision combined radical science and ancient spiritual beliefs to begin the dangerous experiment of bringing Yast to life. Ananya, driven by loyalty to her grandmother's legacy and her own political ambitions, reboots this project with ruthless determination. Ananya's actions show a chilling disregard for human life. She orchestrates murders, manipulates people around her, and shows no remorse for the carnage left in her wake. Her personal flaws and toxic relationships further complicate her character—she is politically powerful but deeply flawed, willing to betray family and friends to complete the Yast project. Rea Thomas and the legacy of Nandini Opposing Ananya is Rea Thomas, a dedicated and morally grounded detective from the Crime Investigation Bureau. Unbeknownst to her at first, Rea is linked to the cult's past through her grandmother Nandini, who was once part of the original Aayastis but ultimately rejected their cause. Nandini's turning point came when she realized the catastrophic consequences of bringing Yast into the world and sabotaged the original plan by destroying a critical part of the ritual. Rea's journey is one of discovery and redemption. As she uncovers her grandmother's story and the cult's history, she becomes determined to stop Ananya and the Aayastis from completing their apocalyptic mission. Her struggle represents the theme of legacy as a choice—while Ananya embraces the cult's darkness, Rea fights to bring justice and protect her community, even at great personal cost. Vikram's role as the final sacrifice Vikram Singh, a local police officer and Rea's close ally, becomes the cult's ultimate target. His body is believed to be the last piece necessary to complete Yast's perfect human form. The cult's plan culminates in harvesting Vikram's blood and body parts, tying him directly to the mythological ritual and making his survival crucial to stopping the catastrophe. Vikram's involvement raises the stakes emotionally and narratively, especially when it's revealed that he also has a mysterious connection to the cult, through his mother Vasudha's role in past events. The threat to Vikram personalizes the fight between Rea and Ananya, turning it into a race to save not only a life but the future of Charandaspur and possibly the world. The failed resurrection and the fall of Ananya The final episode builds to a tense confrontation deep within the underground chambers where the cult prepares to complete Yast's resurrection. Ananya and her followers are ready to perform the final ritual, with Yast's grotesque, incomplete form suspended in a tank. As the blood sacrifice of Vikram is about to be carried out, Rea arrives to stop the ceremony. Rea's intervention is violent and decisive. She stabs Ananya just as the latter attempts to kill Vikram. This moment disrupts the ritual, preventing Yast's full resurrection. The scene is both a climax and a turning point, symbolizing the struggle between the destructive legacy of the past and the hope for justice. However, despite the victory, the lingering presence of the cult members suggests that the threat is far from over. What the ending implies for the future Though the immediate danger is halted, the series ends on a note of uncertainty. The final scenes hint that some cult members remain free, and the ideology behind Yast has not been fully eradicated. The shadow of the Ayastis still looms over Charandaspur, leaving the door open for future conflicts. This ambiguous ending invites viewers to reflect on the cyclical nature of fanaticism and the challenges of uprooting deeply entrenched beliefs. The unresolved threads suggest that the story could continue in a second season, exploring how the battle between darkness and justice evolves in a world where faith and power collide.
