In Bhool Chuk Maaf, Rajkummar Rao takes another trip to small-town India, but this time he’s trapped—not just in a time loop, but also in a story loop riddled with outdated ideas and missed opportunities. What could have been a poignant blend of faith, romance, and fantasy quickly unravels into a sluggish film with little emotional payoff.
Set in the holy city of Varanasi, the movie follows Ranjan (Rao), a man desperate to marry his sweetheart Titli (Wamiqa Gabbi), against her family’s wishes. Given two months to secure a government job, Ranjan turns to bribes and temple vows. When things finally seem to align, he gets stuck reliving the same day over and over—right before the wedding.
On paper, the film promises a fresh concept: a love story tangled in a time loop, infused with spirituality and the signature humor Rao often delivers. But the execution falls flat. The central conflict takes over an hour to unfold, and by then, the audience already knows what’s coming—thanks to the trailer.
Wamiqa Gabbi’s performance as Titli feels over-the-top and shrill, while the chemistry between the leads is virtually non-existent. Instead of rooting for their romance, viewers are left questioning why this seemingly self-aware woman is fixated on a man who offers little emotional or practical support.
Most troubling, however, is the film’s gender bias. From tone-deaf jokes about childbirth to dismissive attitudes toward women-led households, Bhool Chuk Maaf undercuts its narrative with casual misogyny.
Rajkummar Rao brings his usual charm and comedic precision, offering brief moments of relief. But even he can’t rescue a story so fundamentally flawed in its writing and vision.
Karan Sharma directs a film that had great potential but needed sharper introspection and evolved storytelling. In a world of progressive cinema, Bhool Chuk Maaf feels like a step backward.
