Everybody Loves Sohrab Handa

Quietly subversive and more interested in human frailty than genre payoffs, Everybody Loves Sohrab Handa is a quintessential Rajat Kapoor film. It doesn’t reinvent the whodunit, but it humanises it, turning a murder mystery into a mirror held up to the insidious violence we inflict on the people we claim to love. The final reveal and tonal balance don’t fully satisfy, but it is a respectable experiment that fiercely tugs at the deepest strings of the heart. To celebrate their 10th wedding anniversary, Raman (Neil Bhoopalam) and Jayanti (Palomi Ghosh) invite a close group of friends and family for an intimate getaway at a sprawling century-old mansion in the hills. Among the guests is Raman’s business partner, Sohrab Handa (Vinay Pathak), a sharp-tongued, unapologetically abrasive presence who dominates every conversation with his acid wit and honesty. Sohrab is perceptive, knowing which insecurities to poke and how to cloak them in humour.

15 friends (an introvert’s nightmare) meet at a holiday home for a wedding anniversary party. One of them is found dead after midnight. 14 of them become suspects. Nobody is allowed to leave. Rajat Kapoor’s Everybody Loves Sohrab Handa shares a thematic universe with Rajat Kapoor’s Kadakh (2019): overlapping cast members, colourful characters, a dead body, an annual party, free-flowing banter and tense arguments, fragile bonds and incriminatory secrets. But the staging is slightly different. Kadakh was about a couple trying to hide the corpse of a man who accidentally kills himself before their Diwali party. This film is a whodunnit that, in terms of social suspense and tonal flow, shares a universe with ‘psychological’ dramas like Death in the Gunj, Monsoon Wedding (plus a murder) and Titli. It unravels as a deceptively poignant indictment of modern society, armchair morality and rage, and the many ways in which we reverse-engineer our values to fit in.