An absolutely stunning cinematic achievement. Based on poignant real-world events—and a sincere thank you to Rajuul for the recommendation—I would describe this film as India’s answer to The Trial of the Chicago 7. Please don’t shoot the messenger, there are many more wonderful court room dramas made in Indian Cinema. It is a staggering realization that it took nearly 40 years for this story to finally grace the screen.

As a long-time admirer of period pieces, I found the preservation of the era and the intricate Islamic architecture to be visually mesmerizing. While the film is slow-paced, it is never stagnant; the screenplay is masterfully crafted, ensuring the tension remains taut. The soundtrack is equally evocative, particularly the haunting melody of Haq hai Mera, which lingers in the mind long after the credits roll.
Yami Gautam’s portrayal of Shabaz Bano is nothing short of transcendent. She brings a conviction to the screen that anchors the film’s core message: Iqra. This mandatory lesson—to read, to recite, and to seek knowledge—reminds us that while every faith teaches goodness, the narrative is often distorted by the intermediaries of religion. The film is a clarion call to return to the source—the Quran, the Bhagavad Gita, or the Bible—and interpret the truth for ourselves.

If I have one “pet peeve” in an otherwise flawless production, it is the portrayal of aging. Given the protagonist’s 43-year marriage, a touch of gray hair would have lent a layer of necessary realism. Western cinema often treats the dignity of age with a specific visual gravity that was slightly missed here.