Ei Raat Tomar Amaar (2025) [Film review] — A Luminous, Unsettling Study of Love and Mortality

Parambrata Chattopadhyay’s Ei Raat Tomar Amaar is a stripped-back, dialog-driven psychological drama that stages a single night as a crucible for fifty years of marriage. Written by Chironjib Bordoloi and anchored by powerhouse performances from Aparna Sen and Anjan Dutt, the film refuses easy consolations. It’s dense, often claustrophobic, and unapologetically verbal — a film for viewers willing to stay in the uncomfortable, searching space between words and silences.

Plot & Screenplay

Confinement as confession: a screenplay that probes rather than explains

The story opens with Amar (Anjan Dutt) bringing his ailing wife Joyita (Aparna Sen) home after chemotherapy, joined by their son Joy (Parambrata Chattopadhyay) and family. The film compresses its drama into a single long evening — Joyita’s fiftieth-anniversary night — where long-buried questions, resentments, and confessions surface. Chironjib Bordoloi’s writing favors intimacy over exposition: conversations simmer rather than boil, and the screenplay trades plot twists for moral pressure. The narrative’s symmetry — revelations of past lovers on both sides — sometimes feels neat, but it also forces us to confront reciprocity, memory, and the myths partners tell themselves.

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Performances

Two masters at work; a supporting cast that deepens the ache

Aparna Sen delivers one of the film’s most affecting turns: Joyita is vibrantly alive even while facing mortality, alternately defiant, witty, and fearsomely honest. Sen’s performance is a tether; she opens the film’s emotional geography and carries its contradictions. Anjan Dutt’s Amar is a study in restrained grief — tender, practical, and simmering with unspoken disappointments. Together, they create a believable, painful intimacy. Parambrata Chattopadhyay’s Joy, along with Shruti Das, Rohit Mukherjee, and Swati Mukherjee, adds texture to the family tableau. Though some small moments (a comedic attempt to lighten the mood, or an oddly-placed rat) feel contrived, the acting overall sustains the film’s existential weight.

Direction & Cinematography

Confined frames, sumptuous textures

As director, Parambrata Chattopadhyay uses the limited physical space to his advantage: close-ups and long takes magnify the actors’ emotional micro-movements, making every gesture consequential. Prosenjit Chowdhury’s cinematography provides a striking contrast — lush, sensuous compositions that heighten the melancholy rather than relieve it. The background score is elegiac, relentless in its insistence on the film’s somber tone; if the music sometimes leaves no room for breath, it also amplifies the night’s inexorable pressure.

Themes & Analysis

Marriage, memory, and the small violences of care

Ei Raat Tomar Amaar is less interested in plot than in moral anatomy. It interrogates how couples navigate secrecy, loyalty, and the strain of caretaking when time is short. The film confronts cultural taboos — pride, reputation, and the hush that often surrounds mental and physical vulnerability — while resisting the impulse to redeem or villainize its characters. This ambiguity is the film’s ethical core: it asks whether truth, however painful, is preferable to a life sustained by gentle self-deception.

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Verdict

A brave, imperfect meditation — essential for patient viewers

At times unbearably slow and overwhelmingly grim, Ei Raat Tomar Amaar can be a difficult watch. Yet its rewards are substantial: two extraordinary lead performances, a director unafraid to linger in discomfort, and a screenplay that probes the fragile architecture of long marriages. The film’s few missteps — occasional contrivances and an unrelenting tone that offers few respites — keep it from being wholly transcendent. Still, for those who prize character-driven cinema and brave examinations of love under duress, Parambrata Chattopadhyay’s film is a haunting, ultimately humane work.

Overall Rating: ★★★⯪☆ (3.5/5)