Movie Review: Everybody Loves Sohrab Handa | Rajat Kapoor

Everybody Loves Sohrab Handa may remind you of Kadakh, another of Rajat Kapoor’s explorations of human character set against the backdrop of a murder. They are not quite the same, though. ELSH is his first proper whodunnit—an interesting fit in his rather impressive filmography. But that is not the only reason you should watch the film.

As a filmmaker, Rajat Kapoor’s work has always carried a certain intimacy. Films like Mithya, Raat Gayi Baat Gayi, and Mixed Doubles have managed to make the audience feel like they are a part of the story, rather than mere spectators watching from a distance. He does not deviate from that approach this time either.

One of the strongest pillars supporting ELSH is the way it has been shot. Kapoor understands that he does not have the largest canvas to work with, considering the story is set almost entirely inside a secluded bungalow. Cinematographer Rafey Mehmood, a long-time collaborator, understands the assignment perfectly. Mehmood has a history of capturing tension and movement within confined spaces—his work in Kill stands as strong proof of that capability. With ELSH too, he helps bring to life the exact story Kapoor must have envisioned, emerging as perhaps his most important creative ally. Kapoor’s vision is further strengthened by another old collaborator, editor Suresh Pai, who also edited Aankhon Dekhi.

That is not to say the actors have any lesser role to play. Each performer inhabits their character so convincingly that it almost feels as if they truly were on this weekend getaway, celebrating a friend’s anniversary. Vinay Pathak, as Sohrab, leads the pack with a brilliant performance, making you detest him at times, wonder about him at others, and perhaps even pity him eventually. Then there are Ranvir Shorey, Palomi Ghosh, Saurabh Shukla, Neil Bhoopalam, Chandrachoor Rai, and Rajat Kapoor himself—all delivering performances that feel lived-in and effortless.

But none of this would have worked as effectively without the screenplay and sharp dialogues underpinning it all. With ELSH, Kapoor seems to be at his absolute best as a writer. There is not a single minute wasted. The film moves briskly, ties itself together neatly, and, most importantly, allows every character enough breathing space to grow and leave an impact. Even the seemingly minor characters are given their own backstories, ideologies, and emotional worlds. That is perhaps the film’s biggest triumph.

Of course, it is not the perfect murder mystery. For me, the big reveal towards the end felt a tad undercooked and not entirely convincing. That ultimately holds ELSH back from becoming a defining whodunnit for years to come.

But even then, Everybody Loves Sohrab Handa remains one of the most entertaining films I have watched in a while. It serves as a masterclass in unravelling relationships, building characters, and creating wicked humour. Most importantly, it all feels real.

Everybody Loves Sohrab Handa is streaming on ZEE5.

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