Netflix’s five-episode series Akka, written and directed by debutant Dharmaraj Shetty, offers an intriguing premise by reimagining a Godfather-style crime syndicate governed entirely by women. Set in the fictional south Indian region of Pernuru during the 1980s, the narrative centers on an 800-year-old matriarchal order born from an ancient Deccan war that wiped out male rulers, establishing a self-governed society where women inherit power, marriage is discouraged, and men remain peripheral. By the 1980s, this lineage manifests as a formidable female syndicate across three divisions—Malemar, Herkada, and Perplady—controlling local trade and administration through an uncompromising code of duty over desire. The plot unfolds as Bhavani (Keerthy Suresh), the heiress of Malemar raised to protect family traditions, sees her ordered world disrupted by Rudra (Radhika Apte), a mysterious outsider backed by a Bombay gangster who exploits the latent resentment of marginalized men to dismantle the matriarchy. What ensues is a violent power struggle rich in betrayal, political maneuvering, and stylishly choreographed action sequences. The show’s core strength lies in its lead performances: Suresh deftly balances authority and vulnerability, particularly in nuanced scenes alongside Tanvi Azmi, while Apte brings raw, ambitious energy to her antagonistic role. Supported by Laxmi Keluskar’s rich production design and Sheetal Sharma’s period costumes, the series delivers a visually striking departure from standard crime thrillers. However, the narrative is occasionally weighed down by heavy exposition surrounding Pernuru’s complex lore, uneven dialogue, and a missed opportunity to fully interrogate whether matriarchal systems inherently escape the corruptive, exclusionary violence typical of conventional patriarchies. Ultimately, Akka succeeds as an atmospheric exploration of power, courage, and cruelty.
Beyond Patriarchal Tropes: Debutant Director Dharmaraj Shetty Reimagines Crime Syndicates in ‘Akka’
