Director: Honey Trehan
Duration: 136 minutes
Cast: Nawazuddin Siddiqui, Chitrangada Singh, Deepti Naval, Radhika Apte, Ila Arun, Sanjay Kapoor
Rating: 3/5
Five years after Raat Akeli Hai introduced us to the taciturn yet stubbornly moral Inspector Jatil Yadav, director Honey Trehan returns with Raat Akeli Hai: The Bansal Murders, a sequel that chooses introspection over adrenaline. The result is a crime thriller that is thoughtful and thematically rich, but also one that often feels too cautious for its own good.
The film opens with the murder of the powerful Bansal family in their sprawling Uttar Pradesh mansion. What initially appears to be a straightforward case—complete with a convenient suspect and an eyewitness—quickly reveals itself as a tangle of privilege, manipulation, and buried trauma. Inspector Jatil Yadav, played once again by Nawazuddin Siddiqui, senses that the truth is being wrapped up too neatly. As pressure mounts from superiors and the media to close the case, Jatil does what he does best: listens, observes, and quietly refuses to move on.
Unlike conventional whodunits, The Bansal Murders is less interested in suspenseful twists and more invested in moral inquiry. The film practically tells us early on “who” may be responsible; the real question becomes “why.” This narrative choice gives the story a cerebral edge, but it also drains it of urgency. At 136 minutes, the film takes its time—sometimes productively, sometimes excessively. Several investigative beats linger longer than necessary, softening the impact of what should be shocking revelations.
Nawazuddin Siddiqui is the film’s strongest asset. His Jatil Yadav is weary, sharp, and quietly defiant. With minimal dialogue and controlled body language, Nawaz conveys the inner conflict of a man navigating a system that rewards obedience over integrity. It’s a performance built on restraint, and it keeps the film grounded even when the plot begins to meander.
The supporting cast does capable work, though the writing doesn’t always serve them well. Chitrangada Singh brings a composed ambiguity to Meera, a key figure in the case, but the character’s emotional depth is only partially explored. Deepti Naval’s godwoman figure is intriguing in concept, yet underdeveloped, leaving her more symbolic than unsettling. Revathi, as the no-nonsense forensic expert, injects authority and clarity into the narrative, even with limited screen time.
On the personal front, Jatil’s life moves forward. His relationship with Radha (Radhika Apte) suggests growth and stability, but this subplot feels more like a gentle callback than an essential emotional thread. While it adds warmth, it doesn’t significantly influence the investigation or Jatil’s inner journey.
Technically, the film is polished. The visual palette remains muted and somber, matching the film’s tone. The direction is confident but overly restrained, rarely allowing tension to spike. Even the climax, though logically sound, feels too convenient after such a prolonged build-up, denying the audience a truly gripping payoff.
Ultimately, Raat Akeli Hai: The Bansal Murders is a film that prefers to murmur rather than confront. It expands the world of Inspector Jatil Yadav and deepens its social commentary, but it never fully leans into the darkness or danger its premise promises. It’s a measured, intelligent thriller engaging in moments, frustrating in others.
For viewers who appreciate slow-burn investigations and understated performances, this sequel is worth the time. Just don’t expect a pulse-racing chase for the truth; this is a case that unfolds quietly, leaving you thoughtful rather than shaken.