The writer-director, Anurag Bhardwaj, lets conversations breathe. A standout scene: Rohan and Meera arguing over the last samosa at a roadside stall, which turns into a playful debate about love vs. habit. The line “Pyaar bhi chai ki tarah hai – garam ho toh jalaye, thanda ho toh bhaye nahi” is already being quoted in indie circles.
Rohan’s best friend (a loud Punjabi taxi driver) feels like a caricature from a 2010s rom-com. Meera’s mother, though well-acted, disappears after a single argument scene — her arc feels incomplete. The line “Pyaar bhi chai ki tarah hai
The protagonist, Rohan (newcomer Ahaan Tiwari), is not a rich NRI but a struggling comic-book artist. The female lead, Meera (Tara Sharma), runs a tiny bookstore. Their conflicts — financial insecurity, family pressure, social media validation — are refreshingly real. The protagonist, Rohan (newcomer Ahaan Tiwari), is not
The film has only two songs — both situational, not intrusive. The background score uses acoustic guitar and soft percussion, keeping the mood light without forcing emotion. What Could Be Better 1. Pacing Issues in the Second Half The first hour is breezy and engaging. But after the obligatory “misunderstanding” (Meera sees Rohan with an ex-colleague), the film drags for about 15-20 minutes with repetitive self-doubt scenes. A tighter edit would have helped. and the sound mixing is uneven.
Currently playing at indie film festivals and available on Cinema Sangam (OTT for regional indie films). Not on Netflix/Prime yet.
Some night scenes are poorly lit, and the sound mixing is uneven. In one conversation at a metro station, background noise nearly drowns out the dialogue. It’s understandable for an indie film, but distracting at times. Overall Verdict Rating: ⭐⭐⭐½ (3.5/5)
