In a world of materialism relationships find little place. It is somewhat this kind of eroded world that the Sinhas live in. Mother Sundari (Suhasini Mulay) and son Atul (Chandan Roy Sanyal) are plotting the murder of Atul’s wife Sonia (Yuki Ellias) while Ravi, Sundari’s husband (Kallol Banerjee) is plotting his wife’s. He is in love with Maya (Sheeba Chaddha), a tarot-reading, crystal-talking and spirit-speaking woman, also Sonia’s spiritual guide. Atul has landed a foreign deal for arms for which he wants to use Sonia’s property. But Sonia, after being charmed by John’s (Nicholas Brown’s) feverish activism has decided to build a solar energy project on this land.

The film starts on a quirky tone and takes it into myriad details building a world that engages us for what unfolds always remains unpredictable. There is a satin kimono-wearing matriarch in Sundari who loves playing violent video games with her house help. There is her hen-pecked husband who gleefully lives his secret life with Maya dancing in atrocious goggles. There is the seemingly ‘blonde’ Sonia herself who constantly seems like she is more than meets the eye. There is the part-daft sexologist Atul consults and what’s more even listens to. And so on.

The film largely maintains a light tone of speaking even when revealing its darker undertones. It has a more urban sensibility which it milks very well with a liberal dose of well-delivered, well-written English dialogue. The humour at time seems a little too obtuse but forms a world which makes it plausible. For instance when Sonia is hatching a dark plan of her own and goes merrily coffin-shopping claiming it is for her. She even steps into one and says it is cosy, suddenly turning the goofy tone to sinister.

The film continues to gather speed as it moves towards its end. Without a strong pace initially, this speeding up to the climax helps bring all the loose ends prettily together, getting quirkier and rather imaginative. The ironic end that harks at poetic justice seems a befitting end to a rather off-beat tale of urban manipulations and relationships.

The film has a realistic appeal with realistic sets and production value. It uses music to capture its various moods and in a film of several moods gives us variety. It however, falls short visually with an unsure camera and arbitrary angles. Editing then seems choppy but the fluidity of the screenplay and performances of the actors keeps the flow almost seamless. It speaks in a humour we aren’t used to and draws commendable performances out of its entire cast providing an experience off the beaten track, a status not many films can aspire to.