Raat

The Sharma family—Mr. Sharma, his wife Shalini Sharma, their daughter Manisha “Mini” and little nephew Bunty—have just settled into an old, sprawling house on the outskirts of a quiet town. Locals speak of the home’s uneasy reputation, hinting at whispers that drift through its cracked walls and shadowed corners. The house itself feels alive, its creaking floorboards and dimly lit corridors setting a tone that is simultaneously domestic and dread‑filled, as if the very architecture remembers stories better left untold.

Mini is a college student balancing studies with a budding romance with Deepak, while Bunty roams the premises with the boundless curiosity of a child, often drawn to the strange behavior of a resident cat that seems to watch more than it plays. Their friend Reshmi joins the circle, adding youthful chatter to an otherwise hushed atmosphere. Even the neighborhood offers little comfort; Nirmalamma, an elderly resident, greets the newcomers with a wary smile and a warning that lingers like cold air in the hallway.

As the family attempts to stitch together a normal life, subtle disturbances begin to surface—unexplained noises, fleeting shadows, and a feeling that something unseen is probing the edges of their reality. Seeking answers, Mr. Sharma turns to rational counsel, consulting a psychiatrist, Anant Nag, who offers a clinical perspective on the unsettling events. Meanwhile, Shalini leans on the counsel of Nirmalamma, who directs her toward Sharji, a mystic believed to understand the unseen forces that sometimes linger in old homes.

The film hovers between the ordinary and the uncanny, letting the house itself become a character that blurs the line between natural unease and something more ethereal. The story invites viewers to wonder whether the terror that haunts the Sharma household stems from the mind’s shadows or from a deeper, possibly supernatural, disturbance that refuses to stay buried.

Last Updated: November 29, 2025 at 04:43