Crime narratives often reflect underlying power dynamics, with marginalised groups, particularly women and individuals with disabilities, frequently portrayed as voiceless or vulnerable. These depictions reinforce systemic injustices and cultural perceptions that can be critically examined through the intersection of disability, gender, and crime. Drawing on Jack A. Nelson’s stereotype theory and a disability studies methodology, this paper analyses the Malayalam courtroom drama Neru (The Truth, 2023), focusing on its portrayal of disability within a legal and social context. The film centres on Sara Muhammed, a visually impaired sculptor and survivor of sexual assault, whose pursuit of justice, supported by public prosecutor Vijayamohan, reveals both entrenched ableist attitudes and moments of narrative empowerment. By positioning a disabled woman at the centre of a judicial narrative, Neru both reflects and challenges dominant media stereotypes outlined by Nelson, including the tropes of the pitiable victim, the burden, and the supercrip. Sara’s character oscillates between being framed as a tragic figure and a resilient agent of change, thereby complicating traditional portrayals of disability in Indian cinema. Through close analysis of specific scenes and dialogues, this paper highlights how Neru critiques institutional and cultural ableism, especially in the context of credibility, trauma, and justice for disabled women. This paper places Neru within the broader context of Malayalam cinematic traditions, demonstrating how it addresses systemic inequities and stereotypes about disability. As such, Neru offers a meaningful intervention in contemporary criminal storytelling, redefining how disability, gender, and justice intersect in Indian cinema and echoing Nelson’s call for more inclusive and authentic media representations.