Aditya Suhas Jambhale’s film combines partisan politics with supernatural horror, creating a layered and unsettling narrative.
The film opens with a captivating shot of a solitary flower bud in the snow, which draws the attention of a boy named Shoaib. This scene hints at violence but then shifts as Shoaib disappears during a local magic show. DSP Ridwaan Sayyed (Manav Kaul) arrives to solve the mystery. Shoaib is the son of a former MLA, adding political weight to the case.
Ridwaan’s investigation stays grounded in reality as more children go missing from the same school. The film introduces a group of militants, under the leadership of a mysterious figure called “Bhaijaan,” who are involved in these kidnappings.
The militants openly discuss their recruitment using sinister agricultural metaphors. The film names local contacts and reveals a clear chain of command, portraying the militants' plans as rooted in real-world threats.
Alongside this political storyline, a paranormal narrative unfolds within Ridwaan’s home, adding a supernatural dimension to the tension.
“Baramulla opens with a striking single shot: a solitary flower bud in the snow attracts the attention of a child named Shoaib. It’s the sort of shot that usually ends with the sound of a bullet and the image of blood splattered across the whiteness.”
“There is no secret here; the terrorists converse in evil farming analogies to reveal their ‘recruitment’ drive.”
The film loosely references the aftermath of the 2016 attack, and pursues the militants in a tense, layered narrative.
Author’s summary: Baramulla skillfully blends political thriller and supernatural horror elements, delivering a narrative that is both eerie and thought-provoking.