The Manav Kaul-starrer unfolds by blending allegorical themes with a plot that occasionally feels inconsistent. The story centers around mysterious disappearances of young children in the scenic town of Baramulla, Kashmir.
DSP Ridwaan Sayyed (Manav Kaul) is sent to Baramulla to investigate these baffling vanishings. He arrives with his wife Gulnaar and children Noorie (Arista Mehta) and Ayaan (Rohaan Singh), stepping into a case unlike any he has faced before.
A street-side ‘jaadugar’ asks a child to climb into a box, and suddenly the boy disappears.
As the search for the boy intensifies, Ridwaan and his team confront unsettling questions with no straightforward answers: Who orchestrates these kidnappings? Why is there a locked room on the second floor of Ridwaan’s old wooden house? The house itself holds secrets, lies, and betrayals that rise like smoky wraiths from the creaky floorboards.
Produced by Aditya Dhar and directed by Aditya Suhas Jambhale, the film’s atmospheric start is captivating. However, as the story progresses, its tone becomes overtly accusatory.
Yes, the way the Kashmiri Pandits were targeted by terrorists, and made to flee their homes, is a wound that the valley and its residents have lived with all these decades.
The film’s intention to highlight the trauma faced by Kashmiri Pandits is clear but presented forcefully, affecting the overall narrative balance.
Baramulla delivers a compelling mystery enriched by a haunting atmosphere but struggles with uneven storytelling and an overly blunt thematic approach.
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