‘Raat Akeli Hai: The Bansal Murders,’ directed by Honey Trehan, began streaming on Netflix on 19th December and stars Nawazuddin Siddiqui, Chitrangada Singh, Rajat Kapoor, Deepti Naval, Revathy, Ila Arun Bajpai and Sanjay Kapoor. Same city, sharper intent
Full credit to director Honey Trehan and writer Smita Singh for crafting a gripping story set once again in Kanpur, yet far removed in tone from the first film. While ‘Raat Akeli Hai: The Bansal Murders’ may not be as tightly absorbing as its predecessor, it does enough to keep you hooked.
The film opens on an unsettling note and sustains its tension till the very end. The climax arrives like a sudden jolt, but it doesn’t feel forced. The pieces fall into place logically, leaving you impressed by how neatly the mystery is tied up. Backed by strong performances, the suspense drama keeps viewers alert and engaged throughout.
A family under siege
The story begins with a disturbing image: several dead crows and the severed head of a pig placed on a newspaper. This eerie act serves as a warning to the powerful Bansal family, media barons of Uttar Pradesh. Ironically, the newspaper used in the act belongs to them. Inspector Jatil Yadav (Nawazuddin Siddiqui) is assigned the case and soon discovers that the Bansals are a fractured family, locked in a battle over their business empire.
Suspicion initially falls on Rajesh Bansal (Sanjay Kapoor), who now runs a television news channel. The family also appears to be under the influence of a godwoman (Deepti Naval), with the elderly patriarch completely devoted to her. As Jatil struggles to identify the culprit, the case spirals out of control when several members of the Bansal family are brutally murdered in a single night. The focus then shifts to Meera (Chitrangada Singh), the daughter of the family head. As the investigation deepens, it becomes clear that there is far more beneath the surface than what meets the eye.
Cold spaces, shifting suspects
‘Raat Akeli Hai: The Bansal Murders’ does a fine job of creating an immersive atmosphere. The cold, the sprawling mansion, and the silence that hangs over the story add to its unease. Just when you expect the mystery of the dead crows to take center stage, the sudden mass murders change the direction entirely, catching you off guard.
As expected in a whodunit, suspicion keeps moving from one character to another, but the screenplay smartly clears each of them with sound reasoning, keeping the narrative sharp. Though this film stands apart from the first one, its structure recalls the style of the ‘Knives Out’ series. However, the subplot involving the godwoman feels undercooked. In trying to turn her into a red herring, the film builds her up but fails to give her arc a satisfying closure.
Performances that carry the weight
The performances further strengthen the film. Nawazuddin Siddiqui slips back into Inspector Jatil Yadav with ease, maintaining the same restrained intensity seen earlier. He shines particularly in scenes involving his mother and his lover, played by Radhika Apte in a brief but effective appearance.
Chitrangada Singh brings a quiet mystery to Meera Bansal, perfectly matching the tone of the film. Rajat Kapoor, as the DGP, delivers a composed and authoritative performance, while Sanjay Kapoor offers solid support as the estranged family member. But it is Revathy, as forensic expert Dr. Panicker, who leaves the strongest impression. In limited screen time, she brings weight and credibility, adding depth to the investigation.
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An intelligent whodunit
‘Raat Akeli Hai: The Bansal Murders’ may not aim to outdo the first film, but it succeeds in standing on its own. It is a slow-burning, atmospheric mystery that values logic over gimmicks and performances over noise.
Despite a few loose threads, the film rewards patient viewers with a gripping final act and a sense of closure. For fans of intelligent thrillers and grounded whodunits, this sequel makes for a compelling watch. It trusts silence as much as revelation, allowing tension to build without rushing to answers. In the end, that restraint becomes its quiet strength. Rating: 3.5/5
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