Director - Anshuman Jha
Writer - Bikas Ranjan Mishra
Cast – Arjun Mathur, Rasika Dugal, Zoha Rahman, Paresh Pahuja, Tanmay, Garrick Hagon 
Duration – 108 Minutes

Lord Curzon Ki Haveli, directed by Anshuman Jha and written by Bikas Ranjan Mishra, is a film that teases intrigue but never quite delivers. The story revolves around four characters—Rohit (Arjun Mathur) and Sanya (Zoha Rahman) hosting newlyweds Ira (Rasika Dugal) and Dr. Basukinath (Paresh Pahuja)—whose dinner takes an unexpected turn when a shocking announcement about a body in Rohit’s car trunk sets the night spiraling into chaos. While the setup has the potential for a gripping chamber thriller, the execution is uneven and often frustrating.
 
The film’s greatest strength lies in its intimate setting. The manor, largely confined to a single room, gives the narrative a claustrophobic tension that could have worked beautifully for a black comedy or dark thriller. The conversations, meant to build suspense and social commentary on immigrant identity and cultural clashes, instead feel disjointed. Characters make abrupt shifts in behavior, emotional beats land inconsistently, and the supposed tension of the trunk mystery often dissolves into awkward pauses and contrived provocations.
 
Performances are competent, with Rasika Dugal standing out as Ira, offering glimpses of depth amid the chaos. Arjun Mathur and Zoha Rahman bring energy to their roles, but the script’s erratic pacing and abrupt tonal shifts leave the actors little room to create lasting impact. The narrative feels stretched, as roughly half an hour of solid material is inflated into a feature-length runtime, making scenes drag and suspense falter.
 
Technically, the film struggles as well. The camera movements are overly conspicuous, and sound design draws attention to itself, undermining the subtlety needed for a chamber drama. The intended Hitchcockian tension never materializes, replaced instead by a sense of aimless indulgence. Themes of social critique and immigrant experiences emerge sporadically but are never fully developed, leaving the film feeling like style over substance.
 
In conclusion, Lord Curzon Ki Haveli is a film with an interesting concept trapped in a clumsy execution. Its indie aspirations and chamber drama format show potential, but inconsistent writing, uneven pacing, and self-conscious provocations prevent it from reaching its promise. The metaphorical trunk in the living room mirrors the viewer’s frustration—what could have been suspenseful ends up testing patience.