Revolving around the true story of Second Lieutenant Arun Khetarpal who scarified his life for his country at the tender age of 21 years this biographical drama grabs your attention with calm confidence without any loud or over the top war movie trope and gently nudges you to fully understands the gravity of war its aftermath not only for fighter but survivors as well. The film is handled with care dignity and sensitivity which a war hero requires it is one of the most thought-provoking war drama ever made in Indian cinema. Directed by Sriram Raghavan who invents a new grammar to narrate this heroic tale the film doesn’t digress from its main narrative this one doesn’t dwell in the political agenda or cross border formula it tells a larger than life portrayal of young brave-heart India’s youngest Param Vir Chakra recipient. Raghavan opts for two timelines narrative which significantly deepens the film’s emotional texture. The first takes place during the Battle of Basantar in December 1971. Here 21-year-old Arun Khetrapal leads his tank regiment through heavily mined terrain against formidable enemy forces. These combat sequences are tense but restrained. Raghavan avoids spectacle for spectacle’s sake focusing instead on the mental and emotional toll of leadership during chaos. The battlefield is shown as disorienting and unforgiving emphasizing the responsibility thrust upon a young officer fighting not just the enemy but fear and uncertainty. Agastya Nanda portrays Arun Khetrapal with earnestness and clarity. His Arun is young disciplined and deeply driven with a visible sense of idealism. There is no manufactured bravado in his performance. At times he is overzealous but that quality feels intentional—an expression of youth and conviction rather than cinematic exaggeration. His courage reveals itself through decisions rather than speeches. When he refuses to abandon his burning tank despite orders to retreat the moment feels inevitable rooted in character rather than drama. Nanda brings a raw grounded quality that makes Arun’s sacrifice profoundly affecting. The second timeline set in 2001 provides the emotional backbone of the film. Dharmendra plays Brigadier M. L. Khetrapal Arun’s father now long removed from active duty but still carrying the weight of loss. His journey leads him to meet Brigadier Khwaja Mohammad Nasir portrayed by Jaideep Ahlawat with quiet authority and depth. This section of Ikkis moves into unexpected territory. It is not concerned with victory or blame but with memory reconciliation and the shared cost of war. Jaideep Ahlawat delivers one of the film’s finest performances. His Nasir is dignified reflective and acutely aware of what war takes from those who survive it. The interactions between him and Dharmendra are marked by sensitivity and restraint. As they walk through old neighborhoods revisit places shaped by memory and stand together at the site of the Battle of Basantar the film reaches its emotional high point. These moments are powerful precisely because they are understated. Dharmendra’s performance is quietly devastating. With minimal dialogue he communicates pride grief nostalgia and unresolved sorrow through silences and small gestures. His presence carries a lived-in gravity that cannot be replicated. Knowing this is his final film role only deepens the emotional impact. His scenes with Ahlawat stand out as some of the most moving depictions of post-war reflection and reconciliation in Indian cinema. From a technical standpoint Ikkis shows admirable restraint. The VFX enhances realism without drawing attention to itself. Tank warfare sequences feel immersive and grounded capturing the danger and claustrophobia of armoured combat without excessive visual flourish. Every explosion and maneuver serves the story keeping the focus on the soldiers inside the machines. The background score and music are subtle and purposeful. The BGM never overwhelms a scene instead gently underlining tension loss and introspection. During combat sound design takes precedence—engines explosions and shouted commands dominate. In the quieter 2001 timeline the music becomes sparse and reflective. Dialogues follow the same philosophy: measured honest and free of theatrical excess. Several lines linger because they feel true not because they demand attention. Sriram Raghavan’s direction reflects confidence and maturity. He trusts both his material and his audience allowing pauses and silences to carry meaning. The screenplay co-written by Raghavan Arijit Biswas and Pooja Ladha Surti balances two timelines seamlessly without losing emotional continuity. Every scene feels intentional. Performances across the board are strong including debutante Simar Bhatia as Kiran Arun Khetrapal’s love interest. Though her screen time is limited her presence is emotionally significant offering a glimpse of the life Arun might have had. She brings warmth and sincerity without diverting focus from the larger narrative. Backed by Maddock Films Ikkis reflects a production house increasingly invested in meaningful content-driven cinema. Known for genre experimentation the studio takes a bold step by supporting a film that prioritizes emotional truth over commercial formula. The care taken with historical detail and tone underscores a sense of responsibility toward the story being told. Ikkis is not about winning wars but about understanding what they leave behind. It is a film that values empathy over anger and memory over messaging. Director - Sriram Raghavan Cast - Agastya Nanda Dharmendra Jaideep Ahlawat Simar Bhatia Writer- Sriram Raghavan Arijit Biswas Pooja Ladha Surti Duration – 143 Minutes Rating – 4 star