Pink 2016

Minal Arora [Taapsee Pannu], Falak Ali [Kirti Kulhari], and Andrea [Andrea Tariang] are introduced to Rajveer Singh [Angad Bedi] and Raunak by their mutual friend Vishwajyoti on a night out, and they share a few drinks as the evening unfolds. The night takes a sharp turn when Rajveer sustains a heavy head wound and the group rushes to the nearest hospital, leaving the three women looking shaken and uneasy about what just happened. The trio’s safety net becomes fragile as the men’s possible involvement looms large, and a sense of foreboding hangs over their next steps.

Back at home in a shared apartment in New Delhi, the women try to resume their normal routines, but the incident continues to cast a long shadow. During Minal’s morning run, an older neighbor, Deepak Sehgal [Amitabh Bachchan], notices something off and becomes increasingly convinced that there is more to the night’s events than meets the eye. Meanwhile, Rajveer’s circle, led by his friend Ankit Malhotra [Vijay Varma], starts applying pressure—targeting the women and their landlord with threats that range from intimidation to public humiliation. A particularly cruel troll post on social media targets Falak, jeopardizing her job and career, and the women are warned not to report the incident; speaking up could ruin their daily lives. It’s clear to the audience, and to those watching from the shadows, that Rajveer’s family connections—backed by his influential uncle Ranjit—give the men a sense of impunity that the authorities appear reluctant to challenge.

With the help of her work boss, Minal reaches out to a higher-ranking police officer and bravely files a formal complaint. The wheels of justice begin to turn, but the legal system soon tests the women’s resolve. A few days later, Minal is kidnapped by Rajveer’s friends during her run, and Deepak witnesses the abduction in shock but feels powerless to intervene. Minal is subjected to threats, blackmail, and molestation inside a moving car before being dumped back at her apartment, utterly traumatized by the ordeal. The police, swayed by the powerful men and their networks, arrest Minal a short time after, charging her with attempted murder as Rajveer claims the women are prostitutes. Deepak, shaken but determined, steps forward with a plan to help, casting aside personal fear to pursue justice for the women.

In court, Rajveer’s lawyer Prashant Mehra [Piyush Mishra] lays out a carefully crafted version of events. He recounts a night where Rajveer and his friends meet Minal and her companions at a rock concert, invite them to dinner at a resort, share drinks, and then claim the women provoke the men, become intimate, and demand money, painting them as morally compromised. The defense highlights Minal’s supposed ties to Delhi while emphasizing her independent, non-conforming choices, attempting to frame the women as duplicitous. At the same time, Minal, Falak, and Andrea present a starkly different narrative: the men attempted to sexually assault them, with Rajveer trying to force himself on Minal and her defending herself with a bottle in self-defense. Deepak’s focus on consent and a woman’s right to say no becomes a central thread in the defense, challenging the subtext of blame that society often attaches to women who live on their own or drink or socialize late.

A string of tense courtroom exchanges unfolds over days, culminating in a moment when Rajveer, provoked by Deepak, loses his composure and belittles the women, declaring that they “got what they deserved” for engaging with strangers that evening. Deepak uses the platform to denounce regressive attitudes that police women into stereotype, arguing that character and virtue should not be defined by when they come home, what they wear, or how they choose to live their lives. The courtroom discourse becomes a battle over consent, victim-blaming, and the basic principle that a woman’s “No” must be respected without question. In a powerful turn, the defense rests on a simple but profound assertion: No means no, and that clarity should not require further justification.

The verdict arrives with a sense of catharsis: the women—Minal, Falak, and Andrea—are acquitted, while Rajveer, Ankit, and Raunak are arrested and charged, their futures now hanging in the balance as a new court date is scheduled to determine prison terms. Vishwajyoti’s role is acknowledged with a cautionary warning rather than punishment, signaling that justice has been pursued even when the odds were stacked against the women. In a final nod to truth, the end credits scene reinforces the women’s account of events, confirming that the men systematically isolated the trio and that Rajveer did attempt to overpower Minal, who defended herself with a bottle to his head in a moment of self-defense.

This story crafts a careful, unflinching portrait of courage in the face of intimidation, laying bare the tension between personal safety, societal judgment, and the long arc of the law as it grapples with difficult questions of consent, accountability, and the right to live freely without fear. The performances ground the drama in a realism that makes every courtroom misstep, whispered threat, and quiet moment of solidarity feel authentic and resonant.