Baramulla Review: Manav Kaul's Film Blends Psychological and Political Horror
Baramulla ventures boldly into the turbulent socio-political landscape of Kashmir, weaving history, trauma, and myth into a cohesive cinematic experience. Directed by Aditya Dhar and featuring performances by Manav Kaul and Bhasha Sumbli, the film stands as both an artistic and emotional exploration of identity and truth.
A Story Rooted in History and Spirit
Dhar’s film carries echoes of his own background as a Kashmiri Pandit. His personal understanding lends authenticity to a story that reflects the tragic exodus of the 1990s. Originally developed from a short story he wrote in 2016 about the Kashmiri Pandit community’s displacement, Baramulla now arrives on screen as a haunting yet compassionate human tale.
“Aditya Dhar’s Baramulla bears a testament to how personal history can shape narrative objectivity.”
Supernatural Layers and Real-World Pain
The film unfolds in 2016, where supernatural motifs mix seamlessly with grounded psychological realism. At its center stands DSP Ridwaan Shafi Sayyed, recently transferred to Baramulla from Reasi after a hostage situation and accidental death at a public school. Battling post-traumatic stress, Ridwaan and his daughter Noorie find themselves drawn into another haunting mystery — the disappearance of a child named Shoaib during a magic show.
Performances and Direction
Manav Kaul delivers a gripping portrayal of Ridwaan, while Bhasha Sumbli complements his intensity with quiet resilience. Under Aditya Suhas Jambhale’s cinematographic vision, the film’s atmosphere feels both spectral and painfully real, oscillating between grief and redemption.
Conclusion
Baramulla emerges as a deeply reflective film — part psychological thriller, part historical allegory — that confronts the fractures within memory and belonging.
Author’s Summary: A haunting portrayal of Kashmir’s inner wounds, Baramulla merges psychological horror with political reflection through a story steeped in loss, exile, and survival.