Tere Ishk Mein review: Aanand L Rai’s harsh, woman-blaming world leaves no room for Kriti Sanon — but lets Dhanush’s ‘hero’ commit horrific violence

Aanand L Rai’s latest film Tere Ishk Mein, starring Dhanush and Kriti Sanon, has triggered strong reactions for its troubling gender politics and its portrayal of love as a destructive, male-centric force.

Early reviews suggest that the film gives its leading man expansive emotional freedom, even allowing him to burn someone alive, while denying the same complexity, dignity or grace to its female lead.

Critics say Rai’s interpretation of romance continues to lean heavily on the narrative that women are responsible for everything that goes wrong, no matter the situation.

⭐ A world built on punishing women

Reviewers point out that the film repeatedly frames every setback, heartbreak, and emotional breakdown through the lens of female fault.

Whether it is miscommunication, betrayal, family pressure or tragedy, the camera — and the script — consistently places blame on the woman’s character, decisions or presence.

This pattern has appeared in Rai’s earlier films too, but Tere Ishk Mein pushes it further, making the woman not just the cause of conflict, but also the punishment.

⭐ Kriti Sanon gets no arc, no agency — only consequences

Kriti Sanon’s character, according to early responses, is:

barely given emotional depth

denied a complete narrative

made to respond, not act

held accountable for situations she doesn’t control

Her character exists primarily as a catalyst for the male hero’s pain, rage or transformation — not as a person with her own desires and choices.

Critics argue that the film gives her responsibility without power, setting her up for blame but not growth.

⭐ Dhanush gets the classic ‘tortured hero’ treatment — even when he crosses extreme lines

In stark contrast, Dhanush’s character is written with:

layers

trauma

emotional justification

romantic sympathy

and a wide canvas for rage

Even the film’s most shocking moment — where he burns someone alive — is framed as the tragic consequence of heartbreak and masculine suffering rather than moral collapse.

This disparity in treatment has become the central criticism of the film.

⭐ Aanand L Rai’s recurring pattern: Love as male suffering

This film continues a trend in Rai’s storytelling:

male heroes who break rules in the name of love

female characters who carry the blame

romance defined by imbalance, desperation and guilt

emotional violence presented as passion

Reviewers say it reflects a worldview where:

“If a relationship between a man and woman fails, it is always the woman’s fault.”

⭐ Why many viewers are calling the film ‘regressive’

Audiences on social media have expressed frustration with:

✔ the glorification of male rage

✔ the demonisation of women’s choices

✔ the lack of accountability for violent behaviour

✔ melodrama packaged as depth

✔ repeated reliance on harmful gender stereotypes

Some also questioned why female characters in Rai’s films are so often written without autonomy.

⭐ Strong performances trapped in a flawed narrative

Dhanush and Kriti Sanon deliver strong performances, but many critics say the script limits them:

Dhanush is intense, but written as a victim-hero

Kriti is compelling, but suffocated by a one-dimensional role

The film attempts emotional intensity but ends up feeling punitive, uneven and uncomfortably biased.