Stree 2: Amar Kaushik’s film dismantles patriarchy with a supernatural twist

This moment is preceded by radicalisation of Chanderi’s male population, which leads them into a state of servitude. They not only venerate Sarkata, but also resort to regressive traditions, confining women to their homes and aligning themselves with Sarkata’s mission to reestablish a patriarchal order that the first Stree had challenged and destabilised.

This is precisely where Kaushik’s film, part of the horror franchise created by Maddock Films’ Dinesh Vijan — two other films of the fold include Bhediya (2022) and Munjya (2024) — finds its strength. No matter how seemingly frivolous or playful the gags are, they remain deeply connected to the socio-political realities of the world they inhabit. No matter how much the film unsettles with its supernatural horror, at its core lies a reflection of contemporary political horrors. And no matter how absurd the setting becomes or how borderline choppy the resolutions may seem — the conflict remains firmly grounded in real-world issues. This approach can be seen across the Maddock Supernatural Universe.

Deconstructing patriarchy through male gaze

At first sight, the four films in the Maddock Supernatural Universe are comedies dressed as satires, with a touch of horror. Yet their foundation lies in exploring the horrors that continue to haunt Indian society. The ghosts in these films appear fearsome and menacing, but are in reality fragile beings longing for care, affection, and respect. Rather than merely terrorising, they impart lessons on equality to the protagonists, softening them in unexpected ways. Through these encounters, the heroes who were meant to fight them are driven towards introspection and transformation.

Yet, amidst the horror, comedy remains the cornerstone of entertainment in this universe. This is no mere coincidence, as screenwriter Niren Bhatt — who, alongside Vijan and Kaushik, has been instrumental in shaping this universe — views horror through a comedic lens, albeit without the laughter. Bhatt employs both genres to simultaneously charm and disarm viewers. The synthesis between the two creates a dynamic where satire consistently delivers its critique, and the point is made without diminishing the entertainment value. Fans are both entertained and engaged as the formula is followed while being subtly redefined. Consequently, the result is a deft blend of craft and messaging, where even the meta-humour serves as a vehicle for a broader commentary.

The initial manifestation of this approach became evident in 2018 with the release of Stree. Directed by Kaushik, penned by Raj & DK, and starring Rajkummar Rao, Shraddha Kapoor and Pankaj Tripathi, among others, it was an all-out feminist satire with horror undertones. The logline was striking: the town of Chanderi is haunted by a female demon named Stree, who targets only men. This leads to a peculiar scenario where women move freely at night while men don sarees to evade Stree.

The satire became increasingly nuanced as the film progressed. Stree, for instance, valued consent, abducting only those men who responded to her. A menstrual metaphor was also thrown in as she appeared only during pujas and haunted the town for just four nights every year. Moreover, Stree’s backstory revealed that she was a prostitute, cherished by men, only to be slain when she chose to marry the man she loved.

The film carefully constructed the toxic masculinity and lust endemic to the men of Chanderi. For instance, the item number featured at the film’s outset — served to elevate its subtext on female autonomy. It also immersed spectators into the parochial worldview of the town’s men: who perceive women through a narrow, reductive lens. Therefore, it can be said that in a notable cinematic achievement, the male gaze was harnessed not merely as a tool of objectification but as a critical instrument to interrogate and deconstruct the patriarchal order it perpetuates.

A woman strikes at patriarchy

This exploration of the male gaze continued in the universe’s second film, Bhediya, also directed by Kaushik and written by Bhatt. In this instalment, the focus shifts to Varun Dhawan’s male physique — which becomes central to the film’s narrative. Traditionally, horror films have objectified the female form, with figures like the ichadhari nagin serving as visual spectacles for male audiences.

Bhediya reimagines this dynamic. One of the most visceral cinematic moments in recent years is captured in a single long take by Kaushik: Dhawan’s shirt is torn, his bones contort, his spine shifts, and a tail emerges from his boxers as he transforms into a werewolf. While Bhediya is fundamentally an environmental fable, its detailed attention to Dhawan’s body subverted the traditional male gaze.

With Munjya, directed by Aditya Sarpotdar, the universe appeared to regress. The film lacked both entertainment value and substantive subtext. While it attempted to address the significance of consent in romantic relationships, the treatment was rather superficial and failed to make a meaningful impact. It is only with Stree 2 that the universe redeems itself, meeting the high expectations set by its predecessors and reaffirming its creative trajectory. While Stree and Bhediya engage with the male gaze, delivering sharp satires without sacrificing commentary at the altar of entertainment, Stree 2 takes a more radical turn. The tone shifts seamlessly from biting satire to realist horror and, in no time, becomes overtly political.

Much like its predecessor, Stree 2 features an item song, serving a similar function as before. However, in this instalment, it starkly brings the worst out of the men in Chanderi. As Sarkata surfaces, he dismantles their façade of ‘robust’ masculinity, reducing them to passive spectators of his malevolence. Eventually, they align with him, complicit in seeking retribution against women who dare to assert their independence. Here, Kaushik relinquishes his satirical restraint, deploying a direct critique of how all men, ultimately, are subservient to the patriarchal order.

Regardless of Vicky (Rajkummar Rao) being hailed as the saviour destined to protect Chanderi from Sarkata, it is ultimately a woman, a Stree, who defies all odds and strikes at the very heart of patriarchy. All men, bound by the privileges of the patriarchal order, lack both the will and desire to dismantle it. Their response is limited to simply confining women within their homes, making everything around themselves. Yet, they remain oblivious to the inevitable: women, adorned in red, will unlock the doors, take to the streets, and confront the literal and figurative monster. In the end, the beast must fall.