‎'Bayaan' Review: Huma Qureshi Leads Bikas Ranjan Mishra's Rajasthan Police Procedural Thriller

‎Bayaan, directed and written by Bikas Ranjan Mishra, is a gripping police procedural set in Rajasthan that delves into power, silence, and control. The thriller begins with an unsettling sequence inside a prayer hall where women, all dressed in white, sit in meditation. Among them, one secretly escapes and smuggles out a handwritten note: “Holy Father is abusing us at the commune. Help us.” Her act sets the stage for a central investigation that unfolds far from Delhi.

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‎Huma Qureshi in 'Bayaan.'

‎Bayaan

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‎The film was released on Sunday, September 7, and features an ensemble cast led by Huma Qureshi, along with Chandrachur Singh, Sachin Khedekar, Sampa Mandal, Aditi Kanchal Singh, Vibhore Mayank, and Swati Das. Running for 1 hour and 58 minutes, the movie also had its world premiere at the Toronto International Film Festival (TIFF).

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‎Qureshi plays DSP Roohi Kartar, a second-generation police officer assigned to the fictional town of Kirangarh. Her task is to investigate allegations of rape and sexual assault against a revered spiritual leader, Maharaj, portrayed by Chandrachur Singh. The character’s carefully constructed public image, with his face appearing on calendars and hoardings, mirrors real-world cases of powerful religious figures.

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‎On arrival, Roohi encounters resistance. The local chief patronizes her, referring to her as “beta,” a reminder of her father’s celebrated reputation as a veteran investigator, played by Sachin Khedekar. Maharaj’s hold over the town becomes clear as charitable institutions and loyal followers shield him from scrutiny. Inside his fortified ashram, women display visible fear, suggesting abuse but remaining silent.

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‎Udit Khurana’s cinematography adds a tense, atmospheric quality to the narrative. The story examines how mass indoctrination and unwavering devotion protect Maharaj, creating a culture of silence. Qureshi’s performance anchors the film, while supporting cast members Sampa Mandal, Aditi Kanchal Singh, and Swati Das add depth to the portrayal of women caught in this oppressive environment.

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‎Mishra employs a striking storytelling choice by withholding Maharaj’s direct presence for much of the film. His cult symbol, designed as an All-Seeing Eye, reinforces his looming influence. This approach builds unease until a key sequence involving a near-arrest is disrupted by crowds banging utensils, symbolizing the sheer force of collective zealotry.

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‎Bayaan uses its police procedural framework to explore themes of faith, silence, and systemic power, situating its story in a Rajasthan backdrop that adds both scale and realism to its narrative.