Haq Movie Review: A stirring story elevated by stellar performances from Yami Gautam and Emraan Hashmi

Haq Movie Review: A stirring story elevated by stellar performances from Yami Gautam and Emraan Hashmi

(‘Haq,’ directed by Suparn Varma, will release in theatres on 7th November and stars Yami Gautam, Emraan Hashmi, Vartika Singh, Danish Hussain, and Sheeba Chaddha.)

Every once in a while, a film comes along that doesn’t try to make noise yet manages to linger long after the credits roll. ‘Haq,’ directed by Suparn S Varma, is one such film. Drawing its essence from the spirit of the Shah Bano case, it takes a story rooted in the 1970s and 1980s and retells it with quiet urgency. There are no fiery speeches or melodramatic courtroom showdowns here. Instead, Varma crafts a film that speaks through silences and moments of quiet defiance. In a time when cinema often mistakes volume for impact, ‘Haq’ dares to whisper—and that’s what makes it powerful. ‘Haq’ may not please everyone. It moves at its own pace, refuses to sensationalize its subject, and demands attention rather than applause. But that’s exactly why it works.

Set in the 1970s and 80s, the story revolves around Shazia Bano (Yami Gautam), a woman from Aligarh whose life takes a cruel turn when her husband, Abbas Khan (Emraan Hashmi), a respected lawyer, returns from Pakistan after a short trip with a second wife. Tension soon surrounds the household, and Abbas ends their marriage through triple talaq; Shazia refuses to fade into the background after Abbas stops giving her the maintenance allowance. What begins as a personal act of resistance soon turns into a landmark case—one that questions the meaning of justice and faith in a patriarchal society. Backed by her father, Maulvi Basheer (Danish Husain), Shazia’s battle moves from her home to the courtroom, becoming the voice of countless women who were never allowed to speak.

Varma directs ‘Haq’ with a steady hand and a clear heart. He doesn’t treat it as a legal drama but as an emotional journey. The film’s rhythm is deliberate—slow in parts, but never dull—allowing its characters and conflicts to breathe. The screenplay by Reshu Nath deserves special mention for keeping the language authentic and rooted in the soil of western Uttar Pradesh. There’s a lived-in quality to the world she builds: the narrow lanes, the quiet homes, the texture of everyday life in small towns where gossip spreads faster than truth. The cinematography captures this with warmth, bathed in earthy tones that suit the mood of the story. Even Vishal Mishra’s music works more like a gentle breeze—it complements rather than competes. Nothing about ‘Haq’ feels staged or ornamental; everything seems to flow naturally from its world.

Yami Gautam gives one of the most heartfelt portrayals of her career. She doesn’t play Shazia as a victim but as a woman rediscovering her self-worth. There’s dignity even in her silence. Her breakdowns aren’t loud; they’re felt in her eyes, in the way she holds herself in moments of unbearable pain. Emraan Hashmi, on the other hand, surprises with restraint. Gone is the swagger often associated with him—his Abbas is conflicted, proud, and deeply flawed. He doesn’t shout or posture; he allows guilt and conditioning to do the talking. Danish Husain plays the caring father with warmth and honesty, but he deserved more time on screen. It’s a pity to see such a good actor underused. Sheeba Chaddha as the lawyer is fierce yet understated, adding depth to every frame she appears in. Vartika Singh plays Saira, the second wife, but her role feels a bit flat. The tension and spark her scenes with Yami could have brought are missing, leaving those moments just average.

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As the case moves to the Supreme Court, ‘Haq’ builds emotional intensity without losing composure. The courtroom scenes are beautifully written—sharp yet never theatrical. The arguments aren’t about who wins, but about who dares to speak. By the time Shazia faces the judges, you sense the weight of history pressing down on her, and the film allows that moment to unfold with grace. Suparn Varma avoids the temptation to turn this into a victory parade. Instead, he ends on a note that feels human, not heroic. It’s brave without being loud and emotional without being manipulative. In the current climate, where political films often divide audiences, 'Haq' chooses empathy over anger. Suparn Varma reminds us that cinema still has the power to heal and reflect. Yami Gautam and Emraan Hashmi rise above the script to deliver something deeply human, while the film itself becomes a conversation—not just about faith or law, but about dignity.