Mandala Murders Review: Vaani Kapoor navigates an intriguing milieu and holds her ground

Mandala Murders

‘Mandala Murders,’ directed jointly by Gopi Puthran and Manan Rawat, was released on 25th July on Netflix and stars Vaani Kapoor, Vaibhav Raj Gupta, Surveen Chawla, Jameel Khan, and Shriya Pilgaonkar.

‘Mandala Murders’ begins with an absorbing premise that pulls you right into its world. Right from the start, it feels fresh—different from most mystery dramas we’ve seen in the Indian streaming space. There’s a certain intrigue in the way it sets up its universe, and for a while, it sustains that momentum. But somewhere along the way, the series starts getting lost in its own maze.

A promising start that falters at the finish

The buildup is strong, the atmosphere is there, the tension is well-maintained, and the characters seem to be hiding secrets—but when the final episodes arrive and the truth starts to unfold, the payoff just doesn’t land the way you expect it to. The supernatural hints throughout make you anticipate something eerie and otherworldly, but when that element is skipped altogether, it leaves you feeling short-changed. Yes, a few threads are tied up nicely, but there are also some that hang awkwardly, leaving gaps too obvious to ignore. Still, despite the uneven tone, ‘Mandala Murders’ deserves some credit—it dares to be different, and even when it falters, it manages to hold your attention.

From witches to murders: A story spanning decades

The premise of the story draws from the book ‘The Butcher of Benares’ and begins in 1952 in Charandaspur, a fictional town in North India. A group of women, known as the Ayastis, are labelled witches by the villagers. Their leader, Rukmini (Shriya Pilgaonkar), is in the middle of a secret experiment to create their deity, Yast, but just as she’s about to succeed, the villagers—led by Giyasuddin Khan (Anang Desai)—attack the group. Cut to present day: Delhi Police officer Vikram Singh (Vaibhav Raj Gupta), currently under suspension, is travelling to Charandaspur with his father, Vishwanath (Manu Rishi Chadha). On the train, they meet fellow passenger Abhishek Sahay. But the next morning, Vishwanath finds Abhishek’s mutilated body floating in the river, a mandala symbol carved into his forehead. It’s only the beginning. More murders follow, each bearing the same brutal signature. The case brings CIB officer Rea Thomas (Vaani Kapoor) to town, and what begins as a straightforward investigation soon turns into a web of secrets, politics, mythology, and human obsession.

Rich setting, confused identity

The first couple of episodes are fast-paced, loaded with information, and introduce a large ensemble of characters, each carrying a piece of the larger puzzle. The language and setting feel rooted—the mix of Hindi and Bhojpuri adds a nice layer of realism. There’s warmth in how it captures friendships and community ties, especially those between childhood friends who have moved away but return to their hometown with shared history. But the show seems unsure of what it wants to be. It opens with a mystical tone, leans into crime thriller territory, flirts with political drama, and teases the supernatural—only to retreat from it at the last moment. This genre hopping leaves the viewer slightly disoriented, and you wish the creators had picked one direction and stuck with it.

Performances lift the series

The performances, however, hold the show together. Vaani Kapoor plays CIB officer Rea Thomas with calm authority. She isn’t flashy, and that works for the role. Vaibhav Raj Gupta, as Vikram, brings depth to a man struggling with personal loss and professional disgrace. Their dynamic isn’t overplayed, and that subtlety helps the narrative. Jameel Khan surprises as the academic obsessed with Mandalas—a refreshing change from his ‘Gullak’ persona. Raghubir Yadav, Manu Rishi Chadha, and Shriya Pilgaonkar appear in smaller parts, and each manages to make an impression. Still, the biggest takeaway is Surveen Chawla as Ananya Bharadwaj. She is ambitious, shrewd, and unafraid to play dirty—even manipulating her husband to stay in control. It’s a meaty part, and she owns every frame she’s in.

An ending that doesn’t quite land

Unfortunately, things start to unravel towards the end. The final episodes, while aiming for resolution, become far-fetched and confusing. Aaditi Pohankar’s character Moksha, a sword-wielding vigilante carrying out Rukmini’s vision, feels theatrical rather than terrifying. Her repeated appearances—face veiled, blade drawn—feel like they belong to a different show altogether. Ananya’s sudden connection to the deeper mythos is also jarring and undermines the grounded character we’d seen until then. Despite moody visuals, spooky jungles, and mysterious ruins, the fear factor never really kicks in. What ‘Mandala Murders’ offers is an ambitious, at times gripping series with a fascinating premise, some strong characters, and flashes of brilliance—but it never quite manages to bring all its parts together into a satisfying whole. You stay with it, but the end doesn’t reward you as much as the journey promises.

Rating: 3.5/5