Metro In Dino Movie Review: Anurag Basu’s film is gentle, messy and beautifully human

The narrative is woven around four sets of couples, each with their own emotional mess and moments of clarity.

‘Metro In Dino’ is one of those films that doesn’t fit neatly into a box — and that’s exactly what makes it work. It’s part musical, part relationship drama, part slice-of-life comedy, and yet, none of those parts clash. If anything, they gently flow into each other, like a familiar tune that lingers. Much like ‘Life in a Metro,’ this film too places relationships right at the centre, but the tone is softer, more reflective.

There’s something beautifully ordinary about the characters — they aren’t painted in extremes. Aditya Roy Kapur plays Parth, a drifter with a sunny disposition; Sara Ali Khan’s Chumki is all emotion and confusion.

Neena Gupta brings quiet longing to her role, while Ali Fazal captures the restlessness of a man trying to hold things together who is on the verge of becoming a failure in life. The film doesn’t scream its emotions — it gently nudges you to feel them. And that’s probably why it feels more like a warm hug than a movie. In a space overcrowded with loud, synthetic storytelling, this one sits patiently, offering you something honest.

Love stories across cities and generation

The narrative is woven around four sets of couples, each with their own emotional mess and moments of clarity. There’s Neena Gupta (Shibani) and Anupam Kher (Parimal), Konkona Sen Sharma (Kajol) and Pankaj Tripathi (Monty), Ali Fazal (Akash) and Fatima Sana Shaikh (Shruti), and finally, Aditya Roy Kapur (Parth) and Sara Ali Khan (Chumki). Their stories play out across cities — from Bangalore and Mumbai to Kolkata and Goa.

Parth, a theatre trainer and travel blogger, meets Chumki during a messy encounter — she’s drunk, he’s clueless, but something clicks. Parth’s friend Akash is in a different dilemma — married to Shruti, he leaves his software job to chase music, only to find that dreams don’t always pay the bills.

Then there’s Kajol, Chumki’s elder sister, whose marriage hits a bizarre twist when her husband unknowingly starts an affair — through an app — with her. And finally, there’s Shibani, Kajol and Chumki’s mother, still thinking of her college sweetheart Parimal despite decades of marriage. Misunderstandings, silence, rekindling of love — each story builds slowly, revealing how fragile and resilient relationships can be at the same time.

Music, mood and Anurag Basu’s gentle touch

Anurag Basu sets the tone beautifully right from the start, with the Holi sequence that introduces all the characters in one joyous swirl of colour. There’s something very comforting about how he stages scenes — nothing is overly dramatic, nothing is played up for effect. The songs slip in quietly and do what film songs are meant to do — move the story along and deepen the feeling. Pritam’s music here does the heavy lifting without ever making a show of it.

The lyrics, the melodies — they land gently, like thoughts that have been sitting with you for a while. Basu has always had a knack for dealing with serious subjects without making them heavy, and that ease is all over this film. Even when things get sad or complicated, the tone remains affectionate. It’s like watching someone sort through old letters — careful, patient, and full of love.

Characters that feel lived-in and real

Performance-wise, everyone is more or less in tune with the film’s rhythm. Aditya Roy Kapur brings his natural charm and doesn’t try too hard — which works perfectly for his character. Sara Ali Khan, for once, feels believable; Chumki fits her in a way that earlier roles haven’t. Ali Fazal and Fatima Sana Shaikh play a newly married couple trying to make sense of a life that isn’t quite what they signed up for — they’re restrained, and their chemistry has a worn-in quality that works brilliantly.

Neena Gupta and Anupam Kher are lovely to watch together — playful, wistful, and deeply human. Their scenes bring a gentle smile, though one does wish their track had a bit more room to breathe. But it’s Konkona and Pankaj Tripathi who bring in the real magic. Their portions are filled with a kind of everyday humour that feels almost forgotten in Hindi films — not slapstick, not over-the-top, just subtle, situation-led fun. The kind of comedy that reminds you of people you know, conversations you’ve had. It’s a reminder of the ease with which Irrfan lit up the screen in ‘Life in a Metro,’ and Basu seems to tip his hat to that memory.

Not a race but a quiet walk through love

At 2 hours and 42 minutes, the film does stretch in parts — the Goa segment, especially, could have used some trimming. But these moments don’t derail the experience. If anything, they feel like a pause in a long, winding conversation — not always necessary, but not entirely unwelcome either. Unlike ‘Life in a Metro,’ which was rooted in the chaos of Mumbai and the hustle to survive, this film is more inward-looking.

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It’s about emotional survival — about navigating changes, forgiving mistakes, and returning to the people you love. All four stories land softly but firmly, and Basu handles them with the kind of care that’s rare. From the very first frame to the last, ‘Metro In Dino’ stays close to the ground. It’s not trying to impress you. It’s just trying to reach you. And if you let it, it does.

Cast: Aditya Roy Kapoor, Sara Ali Khan, Ali Fazal, Fatima Sana Shaikh, Pankaj Tripathi, Konkona Sen Sharma, Neena Gupta, Anupam Kher, and Saswata Chatterjee

Director: Anurag Basu

Rating: 4/5
(‘Metro In Dino’ is playing is theatres)