{"id":3211,"date":"2016-04-30T14:17:49","date_gmt":"2016-04-30T08:47:49","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3211"},"modified":"2026-07-17T20:26:19","modified_gmt":"2026-07-17T14:56:19","slug":"ghoul-review-netflix-radhika-apte-indian-horror","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3211","title":{"rendered":"Ghoul Review: Humans Are the Real Monsters in Netflix\u2019s Horror Mini Series"},"content":{"rendered":"\n

A<\/span><\/p><\/div>

t first pass, the all-out inventiveness of Patrick Graham\u2019s <\/span>Ghoul<\/span><\/i>, <\/span>Netflix\u2019s<\/span><\/a> first Indian horror mini-series, seems almost expected. It\u2019s co-produced by Blumhouse Productions (<\/span>Get Out, Split, Oculus, Paranormal Activity<\/span><\/i>), a studio that has reinvigorated the horror genre in the last decade. The other production house is <\/span>Vikramaditya Motwane<\/span><\/a> and <\/span>Anurag Kashyap\u2019s<\/span><\/a> Phantom Productions, fresh off the afterglow of <\/span>Sacred Games<\/span><\/i>, Netflix\u2019s explosive first original Indian series. The two Indian directors have also gone on record to lament how underserved the horror genre is in India. Last but not the least, it\u2019s headlined by <\/span>Radhika Apte<\/span><\/a>, who has previously dabbled in horror with <\/span>Ahalya<\/span><\/i> and <\/span>Phobia<\/span><\/i>. <\/span>\n\nBut just believing that would be undermining one of the most ambitious Indian horror premises in a long time. <\/span>Ghoul\u2019s<\/span><\/i> biggest strength remains that it manages to pleasantly surprise \u2013 especially during its subversive climax. <\/span>\n\nLike <\/span>Handmaid\u2019s Tale<\/span><\/i><\/a>, <\/span>Ghoul<\/span><\/i> is set in an Indianised dystopian future, where sectarian violence is an everyday occurence, where innocence is instantly gauged by one\u2019s religion, and where <\/span>minorities<\/span><\/a> are routinely tortured and eliminated. It\u2019s a world where military clampdown has been established, leading to the mushrooming of secret detention camps across the city. A regime where books are burnt, academic curriculum is state-approved, and dissent is mercilessly curbed. Anyone who dares to question the government or its policies is promptly branded a<\/span> terrorist<\/span><\/a> and forced to undergo an ideological reconditioning in Meghdoot 31, a brutal advanced interrogation centre. In a way, the premise becomes all the more unnerving considering <\/span>Ghoul<\/span><\/i> never explicitly mentions the year it is set in, implying that this is the foreseeable future.<\/span>\n\nSave for the first episode, much of the atmospheric <\/span>Ghoul<\/span><\/i> unfolds indoors, in varying levels of darkness \u2014 the interrogation centre clearly being a stand-in for the state. Like last year\u2019s <\/span>Get Out<\/span><\/i>, the three-episode mini-series mines horror as a metaphor for social commentary of a world where flawed humans are brainwashed into believing that they are soldiers, proving their <\/span>patriotism <\/span><\/a>by acts of violence. <\/span>\n\n\"Ghoul\n\n\n

\n\n

Ghoul\u2019s<\/em> biggest strength remains that it manages to pleasantly surprise \u2013 especially during its subversive climax.<\/p>\n

Image credit: Netflix <\/p>\n<\/figcaption>\n<\/figure>\n\nBut sticking true to its Indian roots, <\/span>Ghoul<\/span><\/i> also switches to a supernatural thriller midway when Nida Rahim (Radhika Apte), a new recruit in the interrogation team realises that their high-profile prisoner, Ali Saeed (Mahesh Balraj), may not be human. Unfortunately, it results in the series\u2019 most juvenile parts, replete with amateur over-explaining, such as a \u201cWho among us is a Ghoul?\u201d contest, a sudden change of heart that seems almost manufactured, and cheap <\/span>deaths<\/span><\/a>. (Although there\u2019s a gimmicky twist involving Nida\u2019s double identity that is quite satisfying.) <\/span>\n\nThe interrogation team officers in Meghdoot 31 are headed by Colonel Sunil Da Cunha (<\/span>Manav Kaul<\/span><\/a>), a self-proclaimed \u201cwar-decorated hero\u201d who is really an alcoholic and a wife-beater and includes Major Das (Ratnabali Bhattacharjee) who is suspicious of Nida because of her religion. Even though Nida had in the past turned in her father for inciting students against the state by teaching outside the syllabus. There\u2019s a clear divide between them and the five <\/span>Muslim <\/span><\/a>prisoners, who are brutally abused even when they are innocent. <\/span>\n\nGuilt is an emotion that seems almost extinct in this regime and it\u2019s precisely what the ghoul is tasked with evoking out of these <\/span>men<\/span><\/a>. Interestingly, the ghoul employs the same intimidation tactics that the states comfortably use: preying on human insecurities and then finishing off his victims and assuming their identity. Most fascinating of all however, is how<\/span> Ghoul<\/span><\/i> chooses to paint its supernatural spirit less demon and more saviour \u2013 one who is summoned to not only free the prisoners, but also the conscience of the officers. <\/span>\n\nThere\u2019s enough in there to recommend the series, but the admirable part is how it turns the horror genre on its head by implying \u2013 in no uncertain terms \u2013 that the real <\/span>demons <\/span><\/a>are humans. That it\u2019s the power-drunk officers, who should be feared for wrecking havoc more than the ghoul, for the monsters lie within. Like <\/span>Get Out<\/span><\/i> and <\/span>Pari<\/span><\/i>, even <\/span>Ghoul<\/span><\/i> underlines horror with context and uses it as a reactionary device to drive home a point about prejudice and gross injustice. But more importantly, in all three, humans are the hunters \u2013 not the hunted.<\/span>\n\nToward the end of the penultimate episode, an officer poses a hypothetical question in front of the anti-national Nida, \u201cWill you fight the <\/span>state<\/span><\/a>?\u201d What makes <\/span>Ghoul <\/span><\/i>stand out is that it also offers an intriguing answer: Maybe, it\u2019ll need the powers of a supernatural intervention to set us on the right path. It\u2019s far from gripping, but it does experiment with a completely new grammar of horror filmmaking, putting its weight behind \u201csocietal horror\u201d. It lets us know that the only monsters we need to be afraid of, walk among us.<\/span>\n","protected":false},"excerpt":{"rendered":"

Like Get Out and Pari, the Radhika Apte-starrer Ghoul underlines horror with context and uses it as a device to drive home a point about prejudice and gross injustice. In all three, humans are the hunters \u2013 not the hunted.<\/p>\n","protected":false},"author":103,"featured_media":3214,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[1287,6252,3947,6216,5162,4452,6253,3005,1341,4434,6254,6255,4158,1517],"class_list":["post-3211","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-anurag-kashyap","tag-blumhouse-productions","tag-get-out","tag-ghoul","tag-handmaids-tale","tag-horror","tag-indian-horror","tag-manav-kaul","tag-netflix","tag-pari","tag-patrick-graham","tag-phantom-productions","tag-radhika-apte","tag-vikramaditya-motwane"],"yoast_head":"\nGhoul Review: Humans Are the Real Monsters in Netflix\u2019s Horror Mini Series<\/title>\n<meta name=\"description\" content=\"Like Get Out and Pari, the Radhika Apte-starrer Ghoul underlines horror with context and uses it as a device to drive home a point about prejudice and gross injustice. 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