Madam Sengupta

Madam Sengupta is a moody, atmospheric crime thriller that casts Rituparna Sengupta as a grieving cartoonist on a quest to find her daughter’s killer. As she navigates through her trauma, she’s aided by a journalist friend – played with quiet gravitas by Rahul Bose. The two delve into a trail of poetic murders, each symbolic of a character from Sukumar Ray’s Abol Tabol. The clues point toward Anurekha’s (Rituparna) estranged ex-husband – a playwright whose upcoming work aims to expose the megalomaniacs of society. The question the film poses is whether he is a grieving father or a man with secrets that could shake the city’s conscience. The mystery deepens further when he goes missing on the very night his daughter is killed.
Set against a noir-tinted Kolkata, the film weaves in rich literary layers – especially with its clever nods to Abol Tabol, paying tribute to Sukumar Ray while adding a surreal edge to the narrative. The script, though imaginative, occasionally leans on convenience. Certain twists seem written simply to fit the outcome rather than arising naturally from the plot.
While individual performances shine, the ensemble lacks cohesion and chemistry. Still, the world feels impressively well-researched, blending Kolkata’s cultural legacy with elements of theatre, crime, and psychological intrigue. Newcomer Raunak Dey Bhowmick makes a notable debut as a student politician in pursuit of justice. He holds his own amidst industry heavyweights.
Despite some uneven pacing and predictability, Madam Sengupta builds to a satisfying climax that redeems its slower stretches. It is a flawed but hauntingly crafted film, that is more reflective than racy. It explores loss, guilt, and the stories we tell to survive. A layered thriller that leaves behind a trail of thought.