The sequel to the 2020 hit Raat Akeli Hai landed today 19 December 2025 on Netflix, promising another deep‑dive into the murky world of Indian aristocracy. Directed by Honey Trehan, Raat Akeli Hai: The Bansal Murders reunites Nawazuddin Siddiqui and Radhika Apte as Inspector Jatil Yadav and his steadfast partner Radha, while adding fresh faces such as Chitrangda Singh, Rajat Kapoor, Deepti Naval, Ila Arun, Revathy, Priyanka Setia and Sanjay Kapoor. The film strives to blend a classic whodunit with a critique of class, media power, and the failings of justice, but its execution often tips toward the predictable.
Story
The narrative kicks off with a chilling tableau: Meera Bansal, the matriarch of the media‑kingdom Prabhat Group, steps out of her farmhouse to discover a field littered with dead crows and a severed pig’s head swathed in newspaper. The grotesque scene summons Inspector Jatil and his team to a sprawling estate riddled with family feuds.
The Bansal clan—headed by Rajesh Chand Bansal of Newrise TV and his cousin Meera, who runs the Prabhat Manthan newspaper—has been locked in a bitter battle over assets. As a ritual led by their “kul guru” Geeta Maa unfolds, the night erupts in carnage: most members of the household are slashed, hacked, or bludgeoned, leaving only Meera, her son’s cousin Aarav, and a few others alive.
Jatil, under pressure from his superior DGP Sameer Verma (a friend of Rajesh), is tasked with dissecting a case tangled in privilege, hidden sins, and a web of loyalties. The investigation introduces forensic specialist Dr Panicker and SP Chauhan, who take over after Jatil is sidelined for failing to stop the massacre. While the plot supplies the usual twists of a whodunit, it often stretches the runtime without delivering deeper thematic insight. The film hints at cult influence, gender dynamics, media bias, and the oppressive caste system, yet these motifs remain under‑explored, leaving the story feeling linear rather than layered.
Performances
Nawazuddin Siddiqui anchors the sequel with a restrained, weary Jatil, whose stoic exterior masks a world‑worn cynicism. His understated delivery avoids the melodrama typical of noir detectives, allowing the character’s inner conflict to surface in fleeting glances.
Radhika Apte’s Radha appears mostly in supporting moments; her chemistry with Siddiqui hints at untapped depth but never fully materialises.
Chitrangda Singh delivers a compelling turn as Meera Bansal, balancing poise with vulnerability and keeping the audience guessing about her true motives. Deepti Naval, despite her stature, is confined to a decorative role as Geeta Maa, which feels like a missed opportunity. Revathy’s Dr Panicker adds a modest layer of credibility to the forensic angle, while Ila Arun shines as Jatil’s mother—her sharp‑tongued, small‑town mother‑son dynamic injects moments of dark humor.
Raj Kapoor and Sanjay Kapoor suffer from thinly written characters, limiting their impact. Overall, the cast performs admirably within the constraints of a script that often skims its own ambitions.
Behind the Scenes
Honey Trehan continues to chase the social commentary that propelled his debut—an unflinching look at class disparity, systemic decay, and the corrosive influence of media dynasties. The wintry landscapes of Uttar Pradesh serve as more than a backdrop; the stark cold amplifies the film’s oppressive atmosphere and mirrors the rigid social hierarchies it portrays.
Screenwriter Smita Singh, known for shaping Siddiqui’s iconic Ganesh Gaitonde in Sacred Games, crafts a plot that is structurally sound but thematically shallow. The cinematography captures the bleakness of the estate, while the sound design leans heavily on the unsettling cawing of crows to sustain tension.
Final Verdict
Raat Akeli Hai: The Bansal Murders offers a moody setting and solid performances but falls short of the intellectual punch of its predecessor. Its ambition to tackle class, media, and morality is evident, yet the execution feels surface‑level, resulting in a noir that is more brooding than biting. Fans of the first film may appreciate the return of Jatil and the atmospheric tension, but viewers seeking a tightly woven mystery with profound social insight might find it underwhelming.
Watch if you’re a dedicated follower of the series or enjoy atmospheric thrillers, but keep expectations modest.
