Film Review | Nikita Roy — A Supernatural Thriller That Challenges the Line Between Truth and Illusion
By: [Studio CarryOnHarry], Film Correspondent
In an era where Bollywood frequently leans on formulaic thrillers or love stories, Nikita Roy comes as a rare and refreshing surprise. Directed by debutant Kush Sinha and headlined by Sonakshi Sinha, this film dares to dive deep into a subject that Indian cinema has largely left unexplored: the intersection of science and superstition.
Set against a backdrop where blind faith often masquerades as truth, Nikita Roy follows the journey of its titular protagonist — a scientific investigator and author — as she sets out to debunk societal myths and confront those who propagate fear in the name of the supernatural. But when her investigation leads her to a chilling encounter with a manipulative spiritual figure (played masterfully by Paresh Rawal), the film shifts gears. From rational inquiry, we are plunged into a world teeming with illusion, eerie occurrences, and questions about the very nature of reality.
The slogan, “The biggest lie is the truth,” lingers throughout the narrative like a haunting whisper, challenging viewers to reconsider what they believe and why.
Performances:
Sonakshi Sinha delivers what can easily be called one of the most mature performances of her career. As Nikita, she embodies determination, intellect, vulnerability, and fear with astonishing ease. Her character is the soul of the film, and Sonakshi breathes life into every frame she occupies. It’s the kind of role that redefines an actor’s career arc.
Paresh Rawal, as the enigmatic antagonist, is magnetic. From the subtle menace in his voice to the unpredictability of his actions, he keeps the audience on edge. You’re never quite sure whether to believe him — and that’s exactly what the film wants.
Arjun Rampal, in a supporting yet pivotal role, brings gravitas and mystery, rounding off a cast that is wholly committed to the eerie and atmospheric tone of the film.
Direction & Technical Brilliance:
Kush Sinha’s directorial debut is nothing short of impressive. His command over tone, pacing, and narrative complexity does not betray his newcomer status. There’s a confidence in the storytelling — a refusal to spoon-feed the audience, allowing ambiguity and suspense to build naturally. The film does not rely on cheap jump scares; instead, it invokes a slow-burning psychological tension that is far more effective.
Cinematography plays a crucial role in enhancing the supernatural overtones. Dimly lit corridors, crumbling buildings, shadowy figures — every frame is carefully constructed to keep the viewer guessing. The background score is sparse but unsettling, a companion to Nikita’s descent into the unknown.
Final Verdict:
Nikita Roy is more than just a thriller — it is a commentary on the fine line between belief and manipulation, between reality and perception. It questions whether truth is a matter of fact, or just the loudest story being told.
This is a rare film in Hindi cinema that refuses to conform, and for that alone, it deserves applause. Add to that stellar performances and confident direction, and what you have is a Friday treat not to be missed.
Bollywood Under the Influence: How Paid Media Distorts Reality
## Bollywood’s Battle for Authenticity: Unmasking Paid Media’s Influence
**Mumbai, India** – The dazzling world of Bollywood is facing a reckoning as concerns mount over the increasing reliance on paid media and fabricated publicity. Veteran journalists and industry insiders are sounding the alarm, warning that these practices are eroding the very foundation of authenticity upon which the Indian film industry was built. The shift, they say, is creating a distorted reality for both the stars and the audiences who adore them.
The core issue, according to a recent panel discussion among industry experts, centers on the curated image. Celebrities and studios are increasingly investing in paid channels to shape their public perception. This involves filling press events with paid attendees and strategically cultivated fan clubs, manufacturing an atmosphere of overwhelming adoration, as opposed to genuine engagement with critical media. One panelist bluntly stated this trend replaces authentic dialogue: “You want your applause, so you gather people like that.”
This calculated approach, the panel argued, directly undermines the role of traditional journalism. Critical analysis is being sidelined in favor of public relations-driven narratives. Audiences are left with a skewed understanding of films, talent, and overall quality. The rise of paid reviews, both positive and negative, further muddies the waters. This makes it exceedingly difficult for the public to distinguish between genuine opinions and strategically manufactured hype. A panelist revealed the open secret: “Positive reviews are paid for, negative reviews are paid for,” highlighting the pervasiveness of the issue.
Panelists pointed to examples such as Shah Rukh Khan’s pioneering use of lavish hotel halls reserved for fan clubs on his birthday. They argue that while such displays generate immediate validation, prioritizing them over genuine skill development ultimately harms the industry. One panelist warned, “You are killing yourselves with your own hands,” underscoring the long-term consequences of prioritizing image over substance.
The consensus among experts is clear: the over-reliance on paid media poses a significant threat to the long-term viability of Bollywood. By prioritizing image over artistic integrity and genuine storytelling, the industry risks losing touch with its audience. The challenge now is whether Bollywood can reclaim its authenticity and reconnect with the core values that once defined it, or if it will continue down a path of manufactured hype and distorted realities.
Inside Bollywood’s Silence: The Real Reason Dhurandhar Isn’t Being Celebrated
In a season where Bollywood films are loudly pushed, praised, and plastered across every digital corner, the curious silence surrounding Dhurandhar has raised more questions than answers. Social media has been buzzing with talk of nepotism, PR politics, and manipulated corporate bookings. But industry insiders tell a very different story—one that has less to do with individuals, and everything to do with genre power, studio territory, and the fragile ego structure of Bollywood’s biggest players.
At the heart of the storm lies a simple fact: Dhurandhar is a spy thriller. Not just any thriller—the genre Bollywood unofficially considers the exclusive territory of Yash Raj Films. For over a decade, YRF has aggressively built its “Spy Universe,” treating it like a cinematic fortress. The studio’s identity, revenue expectations, and long-term franchise planning are deeply tied to the success of this genre. So when War 2—their highly anticipated blockbuster—released earlier this year and struggled at the box office, it didn’t just bruise egos; it shook the foundation of the Spy Universe itself.
Against this backdrop, the arrival of Dhurandhar became a complication no one at YRF wanted. Insiders insist the silence around it isn’t about actor rivalries or PR games. It’s far more strategic. Publicly celebrating another studio’s spy thriller—especially one gaining genuine praise—would inevitably weaken the narrative YRF is trying to rebuild with its upcoming film Alpha. Acknowledging Dhurandhar would mean accepting a new, strong competitor in the very space YRF claims as its own.
There’s also the added complexity of personalities. Industry veterans quietly acknowledge the friction between “Gangu” and certain YRF loyalists. Some believe that any hype around Dhurandhar will reflect indirectly on Ranveer Singh, an actor who has been caught in the crosshairs of shifting alliances and subtle jabs from prominent names. Even recent comments by Filmfare’s Jitesh Pillai, insiders say, were not random—they were part of the larger mood within the establishment.
What is particularly telling is that this silence cannot be explained by corporate bookings or inflated footfall numbers. Brahmāstra pioneered and benefitted from such tactics, yet it received full-throated celebration from every camp. The absence of similar support for Dhurandhar points clearly to the genre politics at play.
Behind-the-scenes tea also hints at larger ripples: whispers of Deepika Padukone stepping away from an Ayan Mukerji–Ranbir Kapoor project have surfaced, possibly tied to the tense undercurrents created by this power struggle. Whether these developments are temporary or signal a deeper fissure will become clearer in the coming months.
For now, what remains undeniable is the industry’s discomfort. Dhurandhar is being quietly acknowledged as a good film—good enough to challenge the supremacy of the Spy Universe itself. And in a world where brand territories matter more than merit, silence has become a weapon.
As Bollywood inches toward the release of Alpha, expect the temperature to rise, alliances to shift, and narratives to be aggressively shaped. Because in this battle, it isn’t actors fighting for acclaim—it’s studios fighting for genre dominance.
