Name: Polite Society
Genre: Comedy, Action, Drama
Released: 2023-04-27T00:00:00+00:00
Cast: Priya Kansara, Ritu Arya, Shobu Kapoor, Ella Bruccoleri, Seraphina Beh

The opening martial arts sequence of Polite Society (2023) is a breathless, kinetic explosion—director Nida Manzoor’s camera whipping through a training montage that establishes her protagonist, Ria Khan (Priya Kansara), as a force to be reckoned with. Clad in a sleek white gi, Ria moves with precision and fury, her kicks landing with audible cracks against the air. It’s a bold, unapologetic introduction to a film that refuses to be boxed into a single genre. Manzoor, who cut her teeth on television comedy, merges action, humor, and drama with a fearlessness that recalls Edgar Wright’s Scott Pilgrim vs. The World but infuses it with the feminist rage of Kill Bill. This is a film that knows exactly what it wants to be: a chaotic, exuberant celebration of sisterhood, rebellion, and the messiness of adolescence.

At its core, Polite Society follows Ria, a Pakistani-British teenager who believes her older sister Lena (Ritu Arya) is being forced into an unwanted marriage. Armed with martial arts training and an unshakable sense of justice, Ria recruits her friends—Alba (Ella Bruccoleri), Clara (Seraphina Beh), Kovacs (Shona Babayemi)—to pull off a wedding heist that would make Ocean’s Eleven blush. The premise is absurd, but Manzoor sells it with a wink and a nudge, grounding the film in the emotional stakes of Ria and Lena’s relationship.

Priya Kansara delivers a performance that’s equal parts fiery determination and awkward adolescence. She’s a natural screen presence, balancing Ria’s physicality with moments of vulnerability that make her relatable even as she’s scaling walls and throwing punches. Arya, as Lena, brings a quiet strength to her role, embodying the tension between familial duty and personal freedom. Their chemistry is the film’s emotional anchor, making the sisterly bond feel authentic even as the plot spirals into absurdity.

The supporting cast adds layers of humor and tension that keep the narrative buoyant. Shobu Kapoor shines as Fatima, Ria’s mother, whose exasperation with her daughter’s antics is palpable yet tinged with a deep, unspoken pride. Jeff Mirza, as the sleazy Raff, provides some of the film’s most laugh-out-loud moments, his smarmy charm a perfect foil to Ria’s righteous indignation.

Manzoor’s direction is at its best when she leans into Ria’s rebellious spirit. The wedding heist sequence is a standout, blending slapstick comedy with genuine action chops. Manzoor’s command of action shines through here, as the choreography is both visually impressive and grounded in practical effects. The fight scenes are a highlight, mixing digital enhancements with physical stunts to create a stylized yet visceral spectacle.

However, Polite Society stumbles when it tries to juggle too many tones at once. The tonal whiplash between raucous comedy and earnest drama sometimes feels jarring rather than dynamic. Moments of levity undercut the film’s more serious themes—like patriarchal oppression and teenage agency—without fully committing to satire or sincerity. The script, written by Manzoor, occasionally relies on broad stereotypes (the overbearing South Asian parents, the clueless white authority figures) that feel like missed opportunities for deeper cultural critique.

The film’s biggest misstep is its pacing. At 104 minutes, Polite Society should feel tight and punchy, but it often drags in the second act, bogged down by subplots that don’t pay off. The romance between Lena and her fiancé Salim feels underdeveloped, reducing what could have been a compelling conflict into a predictable trope. The film’s exploration of cultural expectations is intriguing but surface-level, never delving deep enough to offer meaningful commentary.

That said, Polite Society is a refreshing departure from the usual coming-of-age fare. Manzoor’s unapologetic embrace of genre-bending keeps the film feeling vital and unexpected. It’s clear that this is a director with a distinct voice, unafraid to take risks and blend genres in ways that feel both innovative and deeply personal.

The film’s visual style is another strong point. Manzoor employs a mix of vibrant colors and dynamic camera movements that keep the action fresh and engaging. The cinematography is particularly effective during the fight scenes, using tight close-ups and rapid cuts to amplify the intensity. The sound design also deserves mention, with a pulsating score that complements the film’s frenetic energy.

Ultimately, Polite Society is a film that thrives on its chaos. It’s messy, unpredictable, and sometimes uneven, but it’s also fiercely original and undeniably fun.