Mumbai (Maharashtra) [India], September 11: Every so often, Indian cinema attempts to drag a monster out of the shadows, not the fictional kind with claws and fangs, but the real kind that lurks in society. Bisaahee, the new psychological thriller from Piecewing Production Pvt. Ltd., does exactly that. Written and directed by Abhinav Thakur, produced by Narendra Patel, and starring Puja Agarwal, Indu Prasad, Ravi Sah, and Ramsujan Singh, the film plunges headlong into the uncomfortable subject of witch-hunting — a practice many would like to believe belongs to history, but which continues to haunt modern India.
A Brave Attempt, or an Overreach?
At its heart, Bisaahee follows Stuti (played with unnerving restraint by Puja Agarwal), an urban vlogger who arrives in Aatmanpur village in search of “quirky” content, only to stumble upon a nightmare disguised as tradition. The film wastes no time setting its agenda: superstition is not harmless folklore, it’s a weapon. Land disputes, gender politics, and mob fear are dressed up as rituals — and the victims are almost always women like Asha (Indu Prasad), who are branded witches to be silenced or dispossessed.
On paper, the premise feels familiar. An outsider confronts a regressive system. Villagers, bound by fear, resist change. A clash ensues. But Bisaahee tweaks the narrative by pushing Stuti’s journey beyond journalism and into personal defiance. Does it always succeed? Not entirely.
The Good: Atmosphere, Relevance, and Raw Courage
Credit where it’s due — Abhinav Thakur’s direction has an eye for atmosphere. The village lanes are bathed in uneasy silence, the mob scenes erupt in fire and fury, and the camera lingers on faces that betray both fear and complicity. There’s no glamorization here; the horror feels grounded, almost documentary-like in places.
The performances add weight. Puja Agarwal’s Stuti evolves from curious outsider to reluctant crusader with conviction. Indu Prasad as Asha delivers moments of raw heartbreak that elevate the film beyond its thriller label. Even Ravi Sah and Ramsujan Singh, in supporting roles, contribute to the tense authenticity.
And maybe the greatest triumph of Bisaahee is timing. Witch-hunting cases continue to appear in the news, quickly forgotten after a brief headline. By being brave enough to shine a light on this uncomfortable reality, the film compels urban audiences to face what they’d rather scroll past.
The Not-So-Good: Heavy Hands and Old Tricks
Yet for all its courage, Bisaahee sometimes falls into the trap of over-emphasis. Certain scenes stretch long enough to feel like moral lectures, while others resort to predictable horror tropes — shrieking villagers, sudden silences, symbolic blood on walls — that dilute the uniqueness of the story.
The script sometimes finds it difficult to balance. One minute it wishes to be a suspense thriller, the next it wishes to be a public service announcement. The shift isn’t always seamless, leaving gaps where the audience feels they’re being “told” rather than “immersed.”
And yes, some dialogues veer dangerously close to cliché. When your theme is this urgent, a few recycled lines about “truth versus superstition” can sound more like a WhatsApp forward than hard-hitting cinema.
Early Buzz and Political Spotlight
The film isn’t sneaking in quietly. Its teaser launch created ripples, praised for its haunting imagery and unflinching tone. A special screening in Ahmedabad during News18’s Shreshthiyon Nu Samman event even drew Gujarat’s Chief Minister Bhupendra Patel, who lauded the project for its bravery. Such recognition adds legitimacy, though one could argue it also raises expectations to impossible heights.
Interestingly, online chatter has been divided. Some call it “a wake-up call disguised as horror,” while others complain it might be “too grim for mainstream audiences.” One comment on Instagram summed it up with sarcasm: “Finally, a horror movie that doesn’t need ghosts — humans are scary enough.”
Another viewer, reacting to the teaser, remarked: “Powerful subject, but please don’t reduce it to just jump scares. We’ve had enough of that.” A fair warning for a film walking such a fine line.
PR Shine Meets Public Scrutiny
Piecewing Production Pvt. Ltd. has launched Bisaahee not only as film, but as a “mirror to society.” The company has made its intentions clear to marry entertainment with social responsibility, and in today’s content-overloaded era, that’s both a lofty goal and a dangerous marketing strategy. Audiences will cheer the intent, but they’ll be merciless if execution fails.
What’s undeniable, though, is that Bisaahee has already succeeded in starting conversations. Even those sceptical of its cinematic quality are talking about the very issue it tackles. In PR terms, that’s a win — but in artistic terms, it will be judged only once the credits roll.
Verdict Before Release
To declare Bisaahee a perfect movie would be too early and, honestly, unrealistic. What it is, instead, is a brash one. A movie that doesn’t shy away from revealing India’s dark alleys, even if at times it stumbles in relating the story.
It is a mirror, cracked and unsettling. Sometimes it reflects too clearly, sometimes it distorts, but it won’t let you look away. For that alone, Bisaahee deserves to be seen, argued with, and disagreed upon. Whether it succeeds as a film or is just a gutsy attempt will be known by the audience reaction when it officially opens on September 25, 2025.
Meanwhile, the movie already serves as a reminder: superstition may wear the face of tradition, but film still holds the power to strip it bare.
Divya Agarwal
