UA2 hrsReleased: 18 Sep, 2026
BengaliDrama & Romance
The story follows a young couple, Joy (Adrit Roy) and Rinku (Aryaa Ray), as they navigate the intoxicating rush of their first relationship. The narrative explores seven distinct emotional stages of love that completely transform their lives and identities
Cast & Crew
Beporoya Movie Review: A love story without its own voice
Eshna Bhattacharya
TNN, Sep 20, 2026, 1:21 PM IST
Beporoya arrives with an interesting pitch: first love charted across its full, unflattering arc, from the giddy beginnings of a schoolyard crush to the obsessive, vengeful place heartbreak can push a person toward, and finally to something like peace. The film’s own promotional material leaned hard into this darker register, its trailer promised a “turbulent,” “toxic” relationship built on passion curdling into rage, with its protagonist Joy contemplating self-harm before his grief hardened into a desire for revenge against the woman who left him. It’s a bolder premise than Bengali mainstream romance typically risks, and the film deserves some acknowledgement for reaching for it. What it delivers, though, is a patchwork of tones and borrowed influences that never quite settle into a story of its own.The seams are visible almost from the outset. The relationship’s honeymoon phase, presumably meant to establish the intensity of what’s later lost, plays out in the register of a bright, catchy college romance, all easy chemistry and playful choreography between Adrit Roy and Aryaa Ray. It’s pleasant enough on its own terms, but it sits oddly against the film’s darker second half, which reaches openly for the wounded, spiralling masculinity of Kabir Singh, and, in its closing stretch, pivots abruptly toward the gentler, more contemplative mood of Hemlock Society, a shift that arrives conveniently alongside a surprise special appearance late in the film. Both influences are legible, and neither is disqualifying in itself; genre cinema borrows constantly. But Beporoya never fully makes either mode its own, so the film ends up feeling assembled from parts rather than built from an idea.Where the film is more consistently confident is behind the camera. The cinematography holds up better than most of the film around it, giving the early stretch a warmth that sells the romance even when the dialogue doesn’t, and shifting into something heavier and more closed-in as the story darkens. The costumes are more of a mixed bag, at parts, the styling feels oddly out of step with the mood, which undercuts moments that are otherwise well shot.The film’s different emotional stages, the giddy first flush, the unraveling, the eventual reckoning, are clearly well thought through as a structure, but the writing doesn’t do that structure justice. The dialogue leans on the expected far more often than the specific, and the film rarely gives its more restrained, emotionally raw moments room to breathe before reaching for a louder, more conventional beat instead. This is most visible in its comic interludes, which arrive abruptly, feel disconnected from the scenes around them, and read as concessions to commercial formula rather than choices that serve the story. To its credit, the film’s second original track, Phiriye Daao, composed by Arindom Chatterjee, written by Prasen, and sung by Nikhil D’Souza, is a highlight in comparison to the rest. The performances are similarly mixed. Adrit Roy, tasked with carrying a character who moves from devotion to despair to something closer to menace, finds real moments in the film’s more restrained, understated scenes, but the performance fluctuates enough across two hours that the character’s descent never fully convinces. Aryaa Ray, making her screen debut opposite him, brings a visible rawness that is understandable for a first outing, though the script does her few favours, rarely allowing Rinku an interior life independent of Joy’s arc. It’s the senior supporting cast that grounds the film most reliably: in the roles of the two families’ fathers, the actors settle into a familiar but well-worn archetype, the stoic, weary Bengali patriarch, with a comfort and credibility the leads don’t consistently reach. But the best thing in Beporoya, without question, is its late special appearance, a handful of scenes that do more with restraint and stillness than the rest of the film manages across its entire runtime, and a sharp reminder of how much a single controlled performance can carry when everything around it is straining.Where Beporoyaearns real credit is in the ending. The comic relief along the way is a mixed bag, some moments land nicely and lighten things without breaking the film’s mood, while others feel forced in, more a formula requirement than something the scene needed. But without giving anything away, the ending itself avoids the easy, expected resolution the genre so often reaches for and lands on something more grounded instead. It’s a genuinely well-judged choice, and it briefly suggests the more thoughtful film this could have been, even if it arrives too late in the runtime to fully offset what comes before it.Taken as a whole, Beporoyais a weaker film than its premise promised, not for lack of a clear starting idea, but because that idea gets buried under derivative tonal choices, thin writing, and lead performances that don’t consistently hold the screen. Its ambition, its camerawork, its late cameo, and its ending are real, if modest, virtues; they aren’t enough to carry a film that spends most of its runtime reaching for other movies’ better moments rather than finding its own. Should you watch it? Only if you’re specifically drawn to Bengali romantic drama, are nursing a heartbreak of your own, or simply have two free hours and modest expectations. For most audiences, this will be a largely forgettable, one-time watch.
Videos
01:47
01:47
Beporoya – Official Teaser
about 1 month ago
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