For quintessential Bengalis, supernatural storytelling is ingrained in our cultural fabric, nurtured by the eerie charm of literary gems like Tagore’s Monihara and Khudito Pashan, Sharadindu Bandopadhyay’s Pintu, Kamini, Dehantar, and Lila Majumdar’s evocative Shob Bhuture. However, the recent Bengali cinematic landscape has seldom embraced this genre with the same enthusiasm, leaving audiences yearning for an annual supernatural spectacle.
Omorshongi (2025), a film that promised to quench this thirst upon the release of its trailer, instantly struck a chord with cinephiles who revel in narratives of the afterlife. Directed by Dibya Chatterjee, the film is an ambitious blend of love, loss, and spectral reminiscences, tethered to an emotionally charged storyline that deftly oscillates between the tangible and the ethereal.
At the heart of Omorshongi is Anurag (Vikram Chatterjee), a celebrated yet creatively exhausted novelist grappling with an insurmountable writer’s block following the tragic demise of his longtime partner, Joyee (Sohini Sarkar). His world, once teeming with literary inspiration, now stagnates in an abyss of grief. However, his isolation is soon punctuated by fleeting apparitions of Joyee — glimpses caught in reflections, familiar corners whispering memories of a love that refuses to fade. What initially seems like hallucinatory projections of sorrow soon morph into an unsettling truth — Joyee’s spirit still lingers, entwined with his existence.
Dibya Chatterjee, with remarkable finesse, employs an evocative interplay of past and present to weave a poignant tapestry of undying love. Flashbacks meticulously juxtapose Anurag’s past romance with his present desolation, culminating in an emotionally rich narrative that transcends the conventional ghostly trope. As Anurag struggles to reconcile with his reality, the introduction of Niharika (Dibyasha Das), a kindred spirit who sparks a new dynamic in his life, further complicates his journey of healing. The plot unfolds with well-crafted twists, maintaining a delicate balance between spectral eeriness and human vulnerability, ensuring that the supernatural serves as a narrative device rather than an overt scare tactic.
Vikram Chatterjee delivers one of his finest performances, masterfully encapsulating the labyrinth of grief, disorientation, and eventual catharsis. His portrayal of Anurag is layered, oscillating between subtle restraint and unbridled emotion, making his character’s journey profoundly relatable. His on-screen chemistry with Sohini Sarkar is organically affecting — rare in recent Bengali cinema. Sohini, as usual, delivers a performance imbued with both spectral mystique and emotional sincerity, ensuring that her presence transcends the corporeal realm. Meanwhile, Dibyasha Das promisingly brings depth to Niharika, portraying a character oscillating between empathy, self-doubt, and newfound love.
The supporting cast further elevates the film’s emotional core. Shreema and Aniruddha Gupta, portraying Anurag’s closest confidants, provide much-needed warmth and levity, while the seasoned performances of Saumya Sengupta (Anurag’s father), Madhumita Chakraborty (Anurag’s mother), and Sandip Bhattacharya (Joyee’s father) lend authenticity to the familial undertones of the film. Special appearances by Madumita Sarcar, Angana Roy, Bibriti Chatterjee, and Tathagata Mukherjee add an element of delightful surprise, though the undeniable highlight remains the much-anticipated cameo by Ankush and Q — a moment that elicits audible excitement from the audience.
For a debutant, Dibya Chatterjee exhibits remarkable directorial maturity, demonstrating an astute understanding of narrative rhythm and emotional pacing. He crafts a world that is atmospheric yet intimate, where the supernatural serves not as a mere gimmick but as a metaphor for unresolved emotions and the inescapable weight of memory. The choice to forgo depicting the afterlife as mere translucent figures through VFX is a well-judged creative decision.
Credit must also be given to Aritra Sengupta, whose screenplay is a testament to nuanced storytelling, seamlessly blending elements of horror, romance, and introspection. His ability to infuse the script with moments of humour and poignancy without disrupting the tonal consistency of the film underscores his prowess as a writer.
Cinematographically, Omorshongi is a visual delight. Abhimanyu Sengupta’s lens captures the ephemeral beauty of a world where the living and the dead coexist in a delicate embrace. The interplay of light and shadow — carefully curated to evoke a dreamlike state — heightens the film’s atmospheric tension, making every frame a work of art. The cinematography does not merely document; it immerses, drawing the audience into Anurag’s fractured reality with hauntingly poetic imagery.
Music plays an equally pivotal role in amplifying the film’s emotive power. Each song seamlessly complements the narrative, enriching the storytelling rather than serving as a mere interlude. Shiuli, composed by Ranojay, is a gem, but the true winner remains Monihara, a soul-stirring composition by Abhikism, exquisitely rendered by Rishi Chanda. The background score by Neel Adhikari is evocative, enhancing the film’s spectral ambience, though its occasional overuse in certain scenes slightly undermines the overall impact.
Despite its many strengths, Omorshongi is not without its flaws. The film occasionally lingers on certain moments longer than necessary, affecting its pacing. Some sequences could have benefited from sharper editing to maintain the narrative’s grip. Additionally, the over-reliance on background music in certain portions disrupts the emotional subtlety of the scenes, momentarily diluting their impact. However, these minor shortcomings do not detract significantly from the film’s overall brilliance.
At its essence, Omorshongi is an exploration of grief, the catharsis of acceptance, and the lingering echoes of love that transcend the boundaries of time and existence.
It is less of a ghost story and more of a meditation on loss — where the supernatural serves as a conduit for closure rather than fear. The film pays homage to the ineffable bond between lovers, the city of Calcutta, and the silent, spectral imprints left behind in the corridors of memory. With its stellar performances, evocative music, and mesmerising cinematography, Omorshongi stands as a poignant cinematic experience — one that refuses to fade even after the curtains close. A must-watch for those who appreciate the poetic intersection of romance and the supernatural.