Baramulla Review: Manav Kaul’s Film Blends Psychological and Political Horror with Tragic History
Baramulla offers a daring examination of Kashmir’s socio-political turmoil. Manav Kaul and Bhasha Sumbli deliver remarkable performances that anchor this layered, well-intentioned narrative.
The film raises timeless questions: does authenticity arise from lived experience and personal connection, or can an artist outside the milieu capture similar depth? Director Aditya Dhar, through his own background as a Kashmiri Pandit, answers with empathy and nuance.
“His voice as a Kashmiri Pandit finds an echo in this tale that’s gut-wrenching, spine-chilling and mythical in equal measures.”
Originally written as a short story in 2016 about the Kashmiri Pandit community’s forced exodus of the 1990s, the work now transforms into a haunting film that merges realism with supernatural elements. Co-created with Aditya Suhas Jambhale, the narrative breathes life into history through unsettling imagery and psychological tension.
Set in 2016, the story follows DSP Ridwaan Shafi Sayyed and his family, newly relocated from Reasi to Baramulla. After a hostage crisis and a tragic accidental shooting at a Reasi school, Ridwaan and his young daughter Noorie grapple with post-traumatic stress. In Baramulla, he becomes consumed by the mysterious disappearance of a boy named Shoaib during a magic show, which sets the stage for a disquieting investigation.
Summary
This evocative film intertwines personal trauma, lost childhoods, and collective memory, blending psychological and political fear into a powerfully tragic portrait of modern Kashmir.
Author’s resume: A poignant fusion of memory, fear, and identity, Baramulla uses psychological depth and haunting imagery to reflect Kashmir’s enduring wound while questioning the meaning of truth and belonging.