Dear Maa

Dear Maa handles a sensitive adoption storyline with restraint, the disappearance is treated as a personal crisis, not just a plot device, Jaya Ahsan conveys Brinda's grief with a quiet strength that avoids overstatement, the screenplay reflects lived emotional truths rather than clichés, Chandan Roy Sanyal brings subtle weight to a supporting role that anchors the investigation, the visuals by Avik Mukherjee are understated, scenes in the police station and lyric-lit rooms feel somber, the layered story about the politics of care and letting go doesn't resolve neatly, which makes it feel more real.

The visuals are stunning and the feel very cinematic This film quietly holds you in its emotional gravity, Jaya Ahsan delivers a restrained performance throughout, her grief restrained yet palpable whenever she searches police stations or questions passersby, themes of trust and custody weave through the narrative, exploring whether true parental bonds are chosen or enforced, Aniruddha Roy Chowdhury channels warmth and sadness through scenes where Brinda must confront her daughter's wish to leave, cinematographer Avik Mukhopadhyay frames monsoon-lit roads and interior silences with equal care, supporting actors such as Anubha Fatehpuria and Dhritiman Chatterjee add human texture without glamor, the film's length gives it room to breathe and build emotional stakes rather than lean on shock.

Brinda's ordeal feels universally relatable, although Sohini is not her biological child, when she disappears, the film asks if love formed through nurture can survive abandonment, Jaya Ahsan's portrayal captures silent fear and fierce devotion, the journey isn't flashy, it's human, the film avoids dramatic idioms and instead finds power in moments of silence and small gestures, ensemble cast members including Anubha Fatehpuria and Dhritiman Chatterjee contribute layered emotional texture, visually the film embraces monsoon periods and urban interiors to echo vulnerability, the search becomes emotional more than legal.

Dear Maa tells the story of Brinda Mitra, portrayed by Jaya Ahsan, whose world is shattered when her adopted daughter Sohini goes missing, her search unfolding both like a procedural and a mother's desperate plea. The film delicately explores motherhood, adoption and self-sacrifice, showing how love can be more powerful than biology, the screenplay based on collaboration between Aniruddha Roy Chowdhury and Sakyajit Bhattacharya feels organic, the pacing steady not rushed, Monsoon Kolkata visuals paired with introspective performances from ensemble cast members like Saswata Chatterjee and Chandan Roy Sanyal reinforce the emotional weight, the slow revelations about identity and belonging make this drama quietly affecting and distinct in Bengali cinema.

The most gripping aspect of Dear Maa is its refusal to glamorize or simplify mother-daughter relationships. Brinda and Sohini's bond fractures under emotional strain, and yet the film never loses sight of love as the throughline. Jaya Ahsan portrays this tension with nuance, her grief and determination invested, never performative. The supporting ensemble, including Chandan Roy Sanyal as a key figure in the search, brings understated solidity. Visually, the film captures monsoon-streaked Kolkata and its subdued aesthetic to mirror internal mood. In the end, the tragedy and hope interweave subtly, not through melodrama, but through quiet resilience.