- Date of Release: 07 November 2025
- Genre: Horror, Mystery, Thriller
- Language: Hindi
- Watch On: Netflix
Baramulla
Introduction
The cold open in the new Hindi film Baramulla lays its focus on the Baramulla flower in the foggy valley of kashmir. The visibility is foggy just like the past history that the valley is subjected to, even as new life originates from its ruins. This remains a metaphor for a young child that we see in the immediate next frame, almost reflecting on the beauty of the Baramulla flower despite the fog around him. Future is uncertain for the two young lives in the frame – one having to brave the cold, and the other the threatening people in his life. And this perfectly kickstarts the narrative with such ominous signs in the narrative, even as the drama wants you to believe that this is an investigative thriller in its initial reels. In fact in hindsight, even the familiar magic trick of a child in the trunk disappearing is a metaphor in itself – but it depends on which angle you choose to view it from. It could be in the form of a life that is lost in oblivion in the valley, or worse, youth being lost to the conflict that the valley has been facing over the years. Either way, this inflicts a mystery that bestows an investigation featuring an officer DSP Ridwaam Sayyed (Manav Kaul), who is dealing with issues of his own.
Story & Screenplay
Written by Aditya Dhar, Monal Thaakar and Aditya Suhas Jambhale, Baramulla wants you to invest in the atmospherics of the drama at the start without wanting to commit on the direction of the plot. This basically means that the drama is scattered at the start – a child of a minister goes missing triggering an investigation featuring a trauma-driven cop, a shadowy presence in Ridwaan’s new house that adds to the mystery and intrigue of the drama, the conflict in the valley that challenges the establishment with respect to the law and order, and the ‘regular’ chaos that unfolds in the valley. Interestingly, the town of Baramulla acts as a character in the film too, brewing in a sea of fog that adds to the atmosphere and ambience of the drama. It is almost like a smoke-screen beyond which you would ideally get a clear picture. And that also remains a searing metaphor of the past and future in the valley, even while the present remains hazy.
One of the few criticisms that I had was with the characterization of Ridwaan (with one of the traits). In today’s world, a cop suffering from trauma has become a standard trope in most films and shows. You witnessed that in Bhagwat (2025) and Search (2025) recently, a character trait that is slightly getting repetitive. This is more so for Ridwaan given how this trait doesn’t always have a payoff with respect to the main plot. The emotional parallel attempted doesn’t always last with this existing plot-twist with respect to the dynamics that he shares with his daughter. But still is a minor stumble, holistically speaking.
The backdrop of Kashmir plays a vital role in the narrative here, even as you witness ploys of kidnapping and brain-washing young minds from schools. Come to think of it, this remains a terrifying thought simply because the young minds remain impressionable – a trait is also seen in Ridwaan’s daughter Noorie (Arista Mehta). She remains a curious mind, often questioning an unknown existence in her home before being ridiculed, something that prompts her to look outwards towards her new ‘friend’. There is a subtle commentary on parenting somewhere, while being atmospheric with the horror.
The horror elements remain on the fringes, almost working their way up in the narrative – even as you witness a reliance on the few standard tropes along the way. Be it the creaking sound, or the sound of a dog panting, or even a visual of a shadowy figure – all of it contribute to the atmospherics of the drama. This is particularly an important hook in the narrative, particularly in the first hour that makes you wander with its characters just that longer. So an investigation leading up to a school is intercut between the terrifying yet unknown events in Ridwaan’s house, while a kidnapping subplot plays out in the grief-stricken and searing valley of Kashmir.
(MILD SPOILERS IN THIS PARAGRAPH). There is a little more urgency in the narrative even as the haze slowly clears up here. The partial Stranger Things concept of the unknown brings forth a home-grown horror that links it to the Kashmiri Pandits, even while viewed through the gaze of a little child. One thing particularly impressive here is the politics in play – it doesn’t wish to marginalize one community, or even pit one with the other. The focus isn’t on religion but on emotions that gives you a sneak peek into the turn of events that had transpired in the narrative. The emotional core is the connecting tissue between the two eras, and that supersedes the shootout that transpires at the end. And even with the finale twist that follows the actual moments of horror that transpires, it is hard to shrug off the emotions that connect with you at the end. And that for me remains the victory of the writers who are successfully in brewing a home-grown atmospheric horror drama while borrowing important tropes from the darkest chapters of the valley whose beauty is often marred by violence.
Dialogues, Music & Direction
The dialogues are nuanced while wonderfully accounting for the local dialect, something that adds to the authenticity of the drama. The BGM is cleverly employed while enhancing the impact of various scenes in the drama, particularly with respect to the fear quotient. And a large chunk of the credit must go to the sound design that borrows the sound from the rawness of the valley – be it the creaking door, or a rustling whisper, or even the sound of the footsteps – all of which collective elevate the horror quotient in the narrative. The cinematography is beautiful both in terms of capturing the foggy aesthetics of the valley, while also employs a ‘snake technique’ to transition between the past and the present. The single one-shot sequences exude of a high level of skill that makes for a visual spectacle (despite the budget constraints).
The production design is impeccable here, even with the creative decision of not changing the fabric of a scene at the end. It remained creditable particularly because the tension in the scene is never diluted during the transition between the past and the present. The editing pattern is found a little wanting in the first hour given how the events felt scattered. The point to also keep in mind is that this remained a difficult film to edit, given how the mystery needed to be kept alive right until the end. But the editing pattern significantly improves in the second hour, particularly during the finale wherein it exudes of a high-level of technical prowess.
Director Aditya Suhas Jambhale previous having directed the wonderful film Article 370 (2024), does a tremendous job in constructing a high-concept horror while veiling it as an investigative drama. He scores well with the world building while displaying an eerie atmosphere that formulates the world that the drama is set in. The grip that he maintains in the drama was important in hindsight given how the first hour threatened to scatter the narrative. And yet, his technical prowess is on full display towards the end wherein he handles the staging of the finale to near perfection while accounting for a lot of emotions along the way. He is a fine young voice that needs to be preserved!
Performances
The performances are superb by the members of the cast. Mir Sarwar as Liaqat Ansari is terrific in a character that is power hungry while having to suffer a personal loss. Priyank Tatariya as Kamalanand, Nazneen Madan as Mansi, Kiara Khanna as Eela and Sanjay Suri as Sharad, collectively contribute to the emotional core of the drama wonderfully well. Khurshid Mir as Iqbal is sincere and earnest while being an important character utilized in balancing the politics of the drama. And he does a fine job here. Vikas Shukla as Shaukat Ali is competent while putting forth a commendable job, thereby adding to the urgency of the drama. Rohaan Singh as Ayaan has his moments to shine, and he does a fine job here.
Shahid Latief as Junaid and Ashwini Koul as Khalid are intimidating characters, and both use their unhinged expressions to convey an element of fear, thereby doing a wonderful job here. Neelofar Hamid as Zainab has a solid screen presence and she puts forth a solid act here. Arista Mehta as Noorie beholds the exuberance of youth – she is curious, complex, lonely and everything in between, something that she beautifully possesses in her performance. Her scenes of angst are impeccable, even while you witness a young performer being assured of what emotions she wishes to convey.
Bhasha Sumbli as Gulnaar is understated with her performance, particularly given the loss that she has undergone. The emotions hit better through her character as opposed to Ridwaan’s because you see her in quieter moments of grief more often, even when she is with her children. There are many shades to Gulnaaz, particularly towards the end – and Bhasha accounts for a variety of them with such finesse here. She is exceptional to the core.
Manav Kaul as DSP Ridwaan is so well-restrained here that despite my criticism with regards to the trauma-driven generic trope to his character, his performance comprises of a posture and grace. Ridwaan is righteous, perhaps well aware of the conflicts of his religion and occupation, both of which are looked upon from different gazes in the valley of Kashmir. And these remain complex layers that needed a skilled actor to portray, something that Manav does with such poise. And with a stellar screen presence, he manages to beautifully impress here.
Conclusion
Baramulla is a visceral high-concept home-grown horror with understated performances that makes for a wonderful watch. And yes, the horrors of human behavior will always outwit the horrors of the supernatural. Available on Netflix.