Kennedy: 2026 Anurag Kashyap Hindi Neo-noir Crime Thriller Film Trailer & Review

Movie Name: Kennedy
Directed by: Anurag Kashyap
Starring: Rahul Bhat, Sunny Leone, Mohit Takalkar, Abhilash Thapliyal, Megha Burman
Genre: Thriller, Crime, Drama, Action
Release Date: 20 February, 2026
Running Time: 142 Minutes
Language: Hindi
Rating:
Production Company: Good Bad Films, Zee Studios
Budget: ₹- crore

Kennedy, an insomniac ex-police officer who operates secretly for the corrupt system, lives in different conditions and goes on a lookout for salvation.

Kennedy: Movie Overview

Kennedy is a 2023 Indian Hindi-language neo-noir crime thriller film written and directed by Anurag Kashyap. It stars Rahul Bhat and Sunny Leone in the lead roles. The film marks the third collaboration of Kashyap and Bhat after Ugly (2013) and Dobaaraa (2022).

Kennedy premiered at the 2023 Cannes Film Festival on 25 May. It was released digitally on Letterboxd Video Store on 10 December 2025 and will release on ZEE5 on 20 February 2026.

The Indian premiere of Kennedy took place at the Jio MAMI Mumbai Film Festival in 2023, where the screening played to a packed house and concluded with a standing ovation. After premiering at 2023 Cannes Film Festival and touring several international festivals, Kennedy became the only Indian film selected for the launch lineup of Letterboxd’s Video Store on 10 December 2025. This marked the film’s first wide availability to general audiences through a global TVOD release across 20+ countries, even though it was still not streaming in India. Director Anurag Kashyap welcomed the move, calling it a long-awaited chance for viewers outside festivals to finally watch the film.

Kennedy Movie Trailer:

Movie Review:

Anurag Kashyap delivers a gritty neo-noir that stays with you

Story:

A corrupt cop is declared dead so he can secretly carry out crimes for powerful men. When politics change, he finds himself trapped in the same system he helped build.

Review:

Anurag Kashyap’s ‘Kennedy’ feels like the work of a filmmaker who has rediscovered his rhythm. There is a sharp energy in this film that reminds you of his earlier work, along with a clear sense of control that seemed absent in some of his recent films. Backed by strong performances, a tight screenplay, and striking cinematography, ‘Kennedy’ unfolds as a gripping neo-noir drama. The story follows a corrupt cop who survives on blackmail, murder, and extortion, and it never tries to soften its harsh world. Set during the pandemic, the film captures a city in isolation and fear. Almost the entire narrative plays out at night, giving Mumbai a dark, uneasy presence. Kashyap experiments with sound and silence, light and darkness, and the result is immersive.

The story revolves around Uday Shetty (Rahul Bhat), a corrupt cop closely linked to Mumbai Police Commissioner Rasheed Khan (Mohit Takalkar). The commissioner plans a fake kidnapping of Shetty. The plan is carried out by sub-inspector Abhijeet Kaale (Shrikant Yadav), and the public is told that Shetty has been killed. In reality, he becomes a tool for murder and extortion while collecting illegal money without drawing suspicion. This clever but dangerous plan forms the backbone of the film. Earlier, the power equations changed when a new government took charge, and Shetty was branded a “hero” of the previous regime. Rasheed Khan saw this as the perfect opportunity to carry out his plans through Shetty. Running parallel to this crime plot is Shetty’s personal life. He works as a cab driver for a ride-hailing app, barely sleeps, lives in isolation, and struggles with a broken marriage while carrying deep anger toward Saleem, whom he blames for destroying his life.

The film is dedicated to Sudhir Mishra, and the mood at times brings to mind Mishra’s ‘Is Raat Ki Subah Nahi.’ There is a similar sense of night swallowing the city whole. The cinematography by Sylvester Fonseca plays a major role in building this feeling. Every frame carries tension. The camera brilliantly captures dimly lit rooms and tired faces and suggests that danger and crime are always close. The use of music is also striking. A murder sequence set to Tchaikovsky’s violin concerto on an LP record is haunting. It beautifully underlines the contrast between beauty and brutality. Many moments in the film feel like a return to the vintage Kashyap style, where crime is shown without glamour but with sharp observation. He does not dilute his vision to please everyone. The plot of this film is rooted in real incidents that once made headlines in Mumbai during the pandemic, though it never turns into a direct retelling.

Rahul Bhatt delivers one of his strongest performances as Uday Shetty, who later takes on the name Kennedy. His portrayal of an insomniac, emotionally withdrawn cop is intense and controlled. He speaks little, but his expressions and body language reveal layers of pain and anger. Mohit Takalkar as Rasheed Khan is equally convincing as a powerful official who hides corruption behind authority. He plays the role with calm menace.

Shrikant Yadav as Abhijeet Kaale feels authentic, almost like someone picked straight from a Mumbai police station. Sunny Leone, as Charlie, a woman desperate to leave India after losing her lover, appears grounded and believable. Abhilash Thapliyal as Chandan, who appears like a ghostly presence guiding or haunting Shetty, adds an unusual dimension. His character carries a poetic tone that gives the film an almost Shakespearean touch.

At times, the slow pace and heavy symbolism may test the patience of some viewers. The film does not rush to explain itself, and it expects attention. Yet this deliberate approach is also its strength. Kashyap’s indulgence too is on display, yet it never becomes a distraction. The director once again draws from real-world events and exposes the uneasy link between politics and law enforcement. The film builds steadily toward a proper and satisfying closure, something rare in many crime dramas. ‘Kennedy’ stands as a reminder of what Anurag Kashyap is capable of when he trusts his instincts. It is dark, layered, and unapologetic. It may not aim for mass approval, but it leaves a strong impact. It feels honest to the world it portrays.