Interview by Paul Salfen
Star-crossed lovers Tulika (Tanya Maniktala) and Amrit (Lakshya) find their clandestine relationship jeopardized after Tulika’s family whisks her aboard the Rajdhani Express bound for both New Delhi and an arranged marriage. But commandos Amrit and his friend are far from willing to let fate dictate their story. They embark on a “rescue” mission that turns into a gory adventure. Just when the stakes couldn’t get any higher, the train hurtles into chaos as a gang of 40 blade-wielding bandits storms in. Amrit and his friend employ their combat skills to protect the passengers. The train’s confines transform into a claustrophobic battleground, where martial arts meet mayhem. As the body count rises, Fani (Raghav Juyal), the black sheep of the gang, accentuates the tension, and the train’s compartments become a canvas for a furious dance of survival.
Amrit isn’t just a commando; he’s a force of nature, driven by love and armed with dauntless determination. He fights against the odds, carving a path through a hail of knives to shield everyone. With every strike and every confrontation, their resilience is put to the test.
Drawing inspiration from the real-life “dacoits” who once wreaked havoc on Indian trains, KILL takes this high-concept premise that blurs the lines between duty and emotion. In a world where every twist of the track could mean life or death, KILL paints a portrait of how far a man can go in love to rewrite his destiny.
DIRECTOR’S STATEMENT
During my university years, I embarked on numerous lengthy train journeys, mostly grueling 36-hour rides from my hometown to the city where I pursued my studies. On one such night, as our train sliced through the darkness, armed dacoits descended upon us. Oddly enough, while I peacefully slept through the entire time, the coaches adjoining my coach were robbed of their belongings. The guilt of my obliviousness gnawed at me for years. This story had been percolating in my mind for the longest time, but I was not able to get around to writing it. But I knew this story would explode soon.
When I started writing, Covid struck all around the world, putting all of us under lockdown. Somehow, the confinement, helplessness, insecurity, and rage found their way to the paper. As a filmmaker, I was consumed by these emotions as I envisioned the film. At its heart, KILL is a tale of separation and an unquenchable longing for reunion. Amrit and Tulika’s desire to be together is met with an ever-mounting tide of adversity. What truly excited me, as a filmmaker, is Amrit’s transformation. Initially, he harbors no intentions of killing anyone, but circumstances lead him to decimate an entire horde of bandits for his love.
Visually, we have meticulously crafted a journey where the palette evolves, starting with warm, inviting colors as Amrit and Tulika meet, only to descend into deeper, foreboding hues when the robbers strike. The train’s tempo, too, escalates steadily, heightening the sense of impending doom. KILL delves into the profound dichotomy of protector versus monster. I firmly believe that within every guardian, a beast lurks that is unshackled when defending his loved ones. As Amrit’s innocence meets its death, his transformation is palpable. We’ve drawn viewers into his grief with intimate lensing, and the train’s once orderly interiors reflect his unraveled state of mind, growing messier and more chaotic bit by bit.
In the film, I aimed to convey the notion that evil doesn’t always wear a sinister mask; it often wears the guise of the ordinary. Meet Fani, an unassuming gas station worker with dreams of fast wealth. Driven by power and steeped in misogyny, he becomes a monster. It’s when he witnesses the lifeless bodies of his comrades swaying, he also realizes that the power balance is also swaying away from him. Ultimately, KILL is a journey into the human spirit, the power of love, and the extraordinary lengths one will go to protect their cherished ones.
— Nikhil Nagesh Bhat
