Akka builds its story around a fictional matriarchal society in South India, where women control the clans, inheritances and institutions. Keerthy Suresh and Tanvi Azmi bring authority to their roles, but an intriguing premise is weakened by uneven performances, muddled storytelling and inconsistent technical execution.
What if an entire society was governed by women, with daughters inheriting family power and queens ruling instead of kings? That is the central idea behind Akka, which imagines a fictional world in Pernuru, a region in the Deccan, where three clans—Malemar, Herkada and Perplady—have built a matriarchal social order.
In this world, women oversee education, business, farming and self-defence. Men, meanwhile, are expected to seek women’s approval for marriage. It is an intriguing foundation for a drama about power, identity and control. Unfortunately, Akka struggles to turn that premise into a consistently engaging series.
Keerthy Suresh and Tanvi Azmi Lead the Performances
Keerthy Suresh plays Bhavani, a character whose transformation into the figure known as Akka forms a major part of the story. Her performance initially feels restrained to the point of appearing wooden. However, she grows more convincing as Bhavani embraces her position and authority. Once she becomes Akka, Suresh brings greater command to the character, particularly when portraying a woman shaped by betrayal and humiliation.
Tanvi Azmi makes a particularly strong impression as Muthakka. She brings conviction and presence to the role, making the character memorable even though the screen time feels limited. Her performance is one of the series’ strongest assets, and the story could have benefited from giving her character more room to develop.
Mahesh Manjrekar is dependable as Shankar Anna, while Anshumaan Pushkar is adequate as Amar. Kiran Karmarkar, however, is underused as Tarnathanna. Vishak Nair, who plays Nanda, Bhavani’s love interest, also gets limited opportunities to make a substantial impression.
Radhika Apte’s Rudra is a more problematic part of the ensemble. Her performance feels exaggerated in several scenes, and the dialogue delivery does not always help establish the character’s menace. Rudra’s actions set off much of the conflict, but the writing does not adequately explore the consequences of the destruction she causes. Her eventual conclusion feels underwhelming, leaving the character’s motivations and dramatic journey less satisfying than they should be.
The costume choices for Rudra also invite scrutiny. If the styling is intended to evoke Zeenat Aman’s fashion legacy, the execution does not do justice to that inspiration.
Dharmaraj Shetty’s Direction Cannot Fully Support the Premise
Written and directed by Dharmaraj Shetty, Akka marks his directorial debut. The concept has considerable potential: a society shaped by generations of women, with its own hierarchy, traditions and criminal power structures. Yet the execution rarely matches the ambition of the idea.
The series gives the Malemar clan considerably more attention, while Herkada and Perplady often feel like supporting elements rather than equally developed parts of this world. That imbalance makes Pernuru feel smaller and less politically layered than the premise suggests.
There are moments when the writing finds its rhythm, particularly in the twists and the final episode. However, the momentum is inconsistent. Episodes may close on an intriguing development, but the following instalment does not always sustain that tension. The result is a narrative that repeatedly builds anticipation before allowing it to dissipate.
The central conflict between Bhavani and Rudra should provide the series with a strong emotional and dramatic spine. Instead, some of the character decisions and their consequences feel insufficiently developed. The explanation behind Rudra’s revenge also lacks the emotional force needed to make her actions fully compelling.
Music Works Better Than the Visual Execution
John Stewart Eduri’s music is among the more consistent elements of Akka. The opening title theme establishes an effective mood, while the background score supports the dramatic developments without becoming the main attraction.
A ritual sequence involving Rakthurthi in the third episode stands out for its staging and atmosphere. Its visual language may remind some viewers of Kantara, although the comparison does not necessarily mean the scene has the same narrative impact. By this point, the series has already struggled to maintain the strength of its central story.
The cinematography is a more significant weakness. Several important scenes are staged in extremely dark settings, making it difficult to follow the action and read the expressions of the characters. The visual presentation often lacks the clarity and polish that a period gangster drama of this scale requires.
The production design, costumes, make-up and locations are largely functional rather than distinctive. The jewellery, however, deserves appreciation and adds visual richness to the characters’ presentation.
Akka Review: Final Verdict
Akka has an unusual premise and a cast capable of delivering powerful performances. Keerthy Suresh grows into her role, while Tanvi Azmi makes a strong impression as Muthakka. John Stewart Eduri’s music and a handful of well-staged sequences also provide moments of quality.
But these strengths cannot compensate for the uneven writing, underdeveloped character motivations, inconsistent performances and weak visual execution. The series has the ingredients for an engaging story about power, sisterhood and revenge, but struggles to bring them together.
FAQs
1. Who stars in Akka?
Akka features Keerthy Suresh, Radhika Apte and Tanvi Azmi, alongside Mahesh Manjrekar, Anshumaan Pushkar and other actors.
2. Who directed Akka?
Dharmaraj Shetty wrote and directed the series, marking his directorial debut.
3. Where can viewers watch Akka?
Akka premiered on Netflix on October 30, 2026.
4. What is Akka about?
Set in the 1980s in the fictional South Indian city of Pernuru, Akka follows a society ruled by women and the power struggles that threaten its established order.
