I watched the new Raat Akeli Hai, The Bansal Murders trailer and for a second I thought my speakers were broken because it opens on this thick, uneasy quiet. Not creepy in the jump scare sense, just the kind of silence you find in a house after too many fights. The Bansal mansion looks tired. Not old, tired. Like it wants everyone to leave.
And then Nawazuddin Siddiqui walks in as Jatil again. The man barely says anything but somehow the whole room shifts. He has this way of looking at a place like he already knows what went wrong, but he wants to hear the house admit it. You can tell he is carrying something from the first film, some leftover weight. Or maybe I am imagining it, but it feels that way.
The murders, or whatever pieces the trailer shows, do not feel like simple crime. There is a sort of heaviness around the family, like their problems had roots long before anyone died. Money. Ego. Old grudges that sit inside people for decades. It is always the families with pretty interiors that hide the ugliest stories.
The cast shows up in short bursts. Radhika Apte with that steady look of hers that gives away nothing. Chitrangda Singh, elegant but with a hint that she is watching everyone a beat too carefully. Rajat Kapoor, Deepti Naval, Ila Arun, Revathy, Akhilendra Mishra, Priyanka Setia, Sanjay Kapoor, all slipping in like shadows you spot in the corner of your eye. You start guessing motives without meaning to. It is impossible not to.
There is this tiny, blink and you miss it hint at black magic. A marking, a moment, something not fully explained. The trailer doesn’t lean into it, which honestly makes it more interesting. Some outlets are already running with it like it is the whole plot, but the footage feels more cautious, almost unsure. Could be a red herring. Could be important. Could be nothing.
What works is Nawazuddin’s stillness. He doesn’t push the drama. He walks through the mansion like he is listening for something under the floorboards. He has done this so well before, that quiet methodical presence, but this time it feels even more internal. Like he knows this case is going to get under his skin.
The mansion itself deserves a whole review. Huge place, high ceilings, fancy woodwork, but the kind of lighting that makes every shadow look a little suspicious. The house looks expensive but unhappy. I know that sounds odd, but some locations feel like they are pretending. This one feels like it has stopped pretending.
What I appreciate is that the trailer doesn’t explain anything. No voiceover telling you what happened. No big clue dropped right at the end. It just lets the tension sit there. You start noticing the natural stuff, someone’s eyes darting to the side, a hand gripping a chair too tightly, the rhythm of a line spoken half a second too slow. It feels real. Messy. The way families actually behave when the truth starts leaking out.
The buzz online is loud, but the trailer itself is pretty calm. It is not trying to shock anyone. It feels like the film trusts the audience to lean in. And frankly, that is refreshing. Indian thrillers have been getting more confident about leaving things unsaid. This one looks like it is going all in on that.
By the time the title appears, you do not get that wow moment. It is quieter. More like a slow exhale. I think that is the point. Whatever happened in that mansion is bigger than a single reveal. And whatever Jatil uncovers is probably going to be uncomfortable for everyone involved.
December 19 feels close, but also not close enough.
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Zayn blends critical thinking with genuine fandom. Whether it’s decoding OTT series arcs or rating the latest Bollywood blockbuster, he writes with clarity, pop fluency, and a dash of irreverence.
