Sony Liv’s ‘Kankadhura’ is a kind of thriller that does not just rely on the plot twist – it thrives on emotional stress, character complexity, and slow, creeping restlessness that comes from manipulating people around them with surgical accuracy. Under the leadership of two outstanding performances by Roshan Matthew and Mohit Raina, this Hindi adaptation of the Israeli show ‘Magpai’ offers a absorbed character study in a family drama clothing as a suspense thriller. For some time, it works but then, somewhere, it stumbles under the weight of its ambition.

Chandan Arora follows the direction of Aushu (Roshan Matthew), who recently returned home after more than a decade to re -join his elder brother Max (Mohit Raina), a man from jail. Max has rebuilt his life, appears to be – but the surface maintained carefully is ignored by the re -appearance of the ina. What starts as a slow breeding for family life, gradually spirals in a layered psychological game, because the unpir starts manipulating not only the maximum, but not only the maximum, but all the people around them. Or Max is using Ashu to manipulate again?

Roshan Matthew is the soul of the show. His depiction of the ina is subtle, deeply internal and unnecessarily accurate. He plays the character like a chess master – calculation of every step, deliberately. He beautifully balances the beauty of a man, yet reduces a calm, tireless need for control. He also brings a man’s struggle with stuttering, which is haunted for years of bullying. This is one of their most mature performances yet.

https://www.youtube.com/watch?v=vxy2CPL8FR8

On the other hand, Mohit Raina plays Max with a controlled cool that works well contrary to the layered intensity of Matthew. His character is not quite range, but Raina took the most advantage of it, the base of the story with emotional stability. Torn between crime and self-protection as a brother, he expresses an unbearable feeling that gives the story a moral center-even the plot increases.

In particular, ‘Kankajura’ is rich. It discovers a long tail of emotional manipulation, buried outrage and childhood trauma. The Goa setting is wisely used – not as a postcard backdrop, but only as a character. Women – Sarah Jane Dies and Tinetra Haldar -, although not much to do, add a new layer to the story with their performance. Heba Shah returns even after a break and the uptite is still standing out as a soft police officer. Mahesh Shetty and Usha Nadkarni also make an impressive identity with their characters.

Nevertheless, despite its many powers, Kankajura struggles to stick to landing. As the story goes into its final stretch, careful conspiracy starts to pluck. The twists feel like obligations compared to the revelations, and the emotional payment does not match the slow, complex buildup. It is not that the end is bad – it is clearly choosing on the effect that it runs strangely. You think the show wants to say something deep, but it is saying too much and very little at once.

Our last word – see it for Roshan Matthew!