Pratyabartan

Director Samarpan Sengupta presents a familiar yet well-observed portrait of an urban, upper-middle-class family dealing with emotional distance beneath a carefully maintained social image. Dipankar (Silajit Majumdar), a successful heart surgeon, is torn between his demanding job and the pressure of setting up a hospital with his business partner (Rana Basuthakur). At the same time, his wife (Aparajita Adhya), an NGO owner dealing with her own dependencies, struggles to connect with their 15-year-old daughter, Disha (Avipsa “Mishtu” Chatterjee). Feeling overshadowed by her parents’ social standing, Disha turns to social media for validation – until a scandal at a rave party hosted by an influencer (Suprovo Tagore) forces the family to retreat to their ancestral home. What follows is a gradual unravelling of hidden tensions, insecurities, and difficult truths.

Silajit delivers a strong performance, while Anjan Dutt fits naturally into his role as the father. Roopa Ganguly brings warmth and compassion, but it is Aparajita Adhya who stands out, portraying a woman caught between control and breakdown. Debutante Mishtu impresses as Disha, convincingly showing a teenager caught between wanting attention from her parents and the pull of social media – often prompting her to make poor decisions. Kharaj Mukherjee, in a brief role as a psychiatrist, adds warmth, while Koneenica Banerjee brings depth as a school principal trying to balance two very different worlds.

However, the script has its flaws. Some subplots feel rushed, and certain resolutions come too easily. The cinematography captures the beauty of rural Bengal well, but the editing feels a bit stretched in places, and the CGI could have been better. The music by Bonnie Sengupta is pleasant and works especially well in the second half. While the first half builds interest effectively, the second half becomes crowded with new characters, making it harder to stay emotionally connected. The ending, in particular, feels underdeveloped – touching on themes like society and cancel culture without fully exploring the family’s deeper emotional conflicts.