Reflecting on the quiet brilliance of an actor who speaks with her silences.
Mrunal Thakur’s journey has never been about loud arrivals or overnight stardom. At 32, she has quietly carved out a place in Indian cinema—balancing both Hindi and regional films with rare grace. Her performances often don’t scream for attention. Instead, they linger. They invite you to look closer, to feel more deeply. In a world of spectacle, Thakur is content being soulful.
Her first major role in Love Sonia (2018) was not meant to be easy viewing. Thakur played Sonia, a village girl pulled into the dark world of human trafficking. She carried the weight of the story on her shoulders with heartbreaking honesty. No glamour. No melodrama. Just a young woman’s raw will to survive. It was an extraordinary debut—powerful and unflinching. Yet, too few have seen this film. Too few speak of how much she gave in her very first outing.
In Super 30 (2019), Mrunal portrayed Supriya, a classical dancer and partner to Hrithik Roshan’s Anand Kumar. It wasn’t a large role. But she brought serenity to a film otherwise buzzing with intensity. Her Supriya is soft-spoken but determined—a presence that reminded us love doesn’t always have to be loud. Mrunal’s quiet strength gave the film its emotional stillness.
Toofaan (2021) was Farhan Akhtar’s show on the surface. Yet, Mrunal’s performance as Dr. Ananya Prabhu stays with you. She plays a principled doctor, a woman who refuses to bend her ethics even for love. Her compassion becomes the boxer’s anchor. Through her, we see what it means to believe in someone—not blindly, but bravely. It’s a tender role. One that didn’t grab headlines, but added weight to the film’s soul.
Jersey (2022) gave Mrunal a chance to explore domestic drama with sharp emotional edges. As Sarah, the wife of a struggling cricketer, she captured the pain of watching someone you love falter again and again. Her frustration never turned cruel. Her love never felt weak. It was a portrayal of dignity—of a woman who refuses to give up, even when her patience thins. The film may have slipped under the radar, but Mrunal’s work in it deserves to be seen.
Set during the 1971 war, Pippa (2023) brought Mrunal into a very different space. As Radha, a soldier and doctor, she stood firm amid noise, strategy, and tension. She didn’t raise her voice. She didn’t rush. But every word carried weight. Here, too, she grounded the film—not through action, but through presence.
One of her most notable recent roles was in the Telugu film Hi Nanna (2023). Playing Yashna, a woman with a complex emotional history, she gave one of her most expressive performances. There are scenes where she barely speaks. But her eyes say everything—loss, longing, love, guilt. It’s the kind of performance that stays with you, long after the story ends. Regional cinema has, perhaps, given her more space to breathe as an actor—and she has made the most of it.
Mrunal Thakur doesn’t chase the spotlight. She builds characters from the inside out—quietly, carefully, honestly. And perhaps that’s why so many of her best roles are still considered “underrated.” As she enters her 33rd year, it’s time we stop overlooking her subtle brilliance.
Her craft doesn’t scream for validation. But it deserves to be recognised.
In a world that often values volume, Mrunal Thakur reminds us of the power of stillness.
