Gustaakh Ishq (2025) Review!!

Synopsis – Nawabuddin seeks to learn shayari poetry from Urdu poet Ajiz. He meets Ajiz’s daughter, sparking romance. They share poetry and tea until misunderstandings drive them apart.

My Take – Indeed, this year has been the year of romances, with films like Saiyaara, Ek Deewane Ki Deewaniyat, and Tere Ishk Mein (which also released this last weekend), not just raking in box office numbers, but also unexpectedly connecting with the wider Gen-Z audience who have particularly lapped up the onscreen personalities of their hyper-masculine heroes.

However, amidst them, destined to lose itself is this latest Vibhu Puri (Hawaizaada) directorial that showcases a rich emotional narrative centered on love and art. Backed by renowned designer Manish Malhotra, in his maiden production venture, the film is structured as a tribute to old-school romance when love wasn’t declared over texts but discovered through conversation, pauses, poetry, and longing. The love-at-first-sight era we’ve grown up hearing stories about.

Resulting in a light story buoyed by gentle direction, magnificent performances and excellent writing that is filled with sher-o-shayari, nostalgia, and aching romance. And while it doesn’t always reach the emotional depth it desires, there’s an undeniable sincerity running through its core.

Simply told, this was never made to be a crowd-pleaser as its narrative is meditative, nostalgic, and sometimes indulgent. Still, there’s heart, craft and sincerity here. Not everything works, but what does work, it works beautifully. And by the time the credits roll, it leaves you with a gentle, lingering warmth.

Beginning in 1998 Delhi, the story follows Nawabuddin Saifuddin Rahman aka Pappan (Vijay Varma), a financially struggling Urdu printing press owner whose life is crumbling as quickly as his business. Despite the objections of his younger brother Jumman (Rohan Verma), Pappan remains convinced that the only way to save his family business is to publish something big and impactful and sets out for Malerkotla, Punjab to seek help from Aziz Baig (Naseeruddin Shah), a once-celebrated poet and a former friend of his father who has mysteriously stopped writing and instead now runs a watch repair shop to make ends meet.

Posing as a student, in the hope that he can use Aziz’s poems, Pappan even falls for Aziz’s daughter Minnie (Fatima Sana Shaikh), while also befriending the family helper Bhoore (Sharib Hashmi). However, the poet remains stubbornly resistant, disregarding Pappan’s hopes to resurrect both Aziz’s legacy and secretly, his press. Forcing Pappan into a situation where he has to choose between love and livelihood.

Of course, the plot is straightforward, almost predictable. But the film succeeds almost instantly in transporting you to the 90s, thanks to the meticulous production design by Madhumita Sen and Ajay Sharma. Every frame looks carefully crafted, warm amber mornings, dusty library shelves, shawls, pens tucked behind ears, pink-toned outfits for romance, and earthy shades for heartbreak. There’s a language in the colors alone.

Director Vibhu Puri’s film, co-written with Prasshant Jha, is determinedly old-fashioned, with the characters, props and events all evoking an era that has long gone by. The film takes its time to connect, much like the love it portrays. The characters are all Muslim. But they don’t follow the clichés set by other stories, instead, the narrative occupies its world comfortably. There is a sense of time coming to a halt as characters weave their way through courtship from behind veils and romance, something that cannot be found into today’s modern dating culture.

Here, there is a gentle attempt to decode the relationship between art and the artist. In an age when everything demands monetization, the film pauses to ask what art looks like when it exists only for itself. And then there’s the music, perhaps the most crucial companion to any Hindi film romance. Vishal Bhardwaj‘s compositions, paired with Gulzar‘s lyrics, add gloriously to the film’s old-school soul, wrapping scenes in the ache of nostalgia. But for a story built on romance and emotional unfolding, the pacing is at times uneven. The story, while sweet and earnest, isn’t always enough to hold the audience’s attention.

The central conflict in this love story simply doesn’t land. The film wants its emotional stakes to feel monumental, but they only up sending ripples. If there is one element that truly elevates the experience, it is the poetry. The Urdu sprinkled throughout doesn’t feel forced or ornamental. It feels natural, warm, and lived in, as it belongs to the streets, the characters, and the era. The dialogues carry weight, humor, and grace, making this a film trapped in its own nostalgia: heartfelt, charming, warm, predictable, but always compelling.

Performance wise, Vijay Varma is a delight. Rarely imagined as a romantic hero, Varma shines as a lead and proves once again that he deserves more opportunities to play strong protagonist roles. His quiet sensitivity and controlled emotional portrayal add dignity to Pappan’s character. Fatima Sana Shaikh looks radiant in every frame, and carries heartbreak, dignity, and unresolved hurt beneath her calm exterior. Though her role could have been more layered, she brings honesty to it.

But it’s the ever-dependable Naseeruddin Shah who shoulders the film, giving the role his signature gravitas. He provides the necessary grounding to this film and reminds us again why is considered a legend. In supporting roles, Sharib Hashmi once again proves he’s one of the most dependable actors working today, while Mohan Verma and Natasha Rastogi play their parts convincingly. Zain Khan Durrani is likable in his small role. On the whole, ‘Gustaakh Ishq’ is a gentle, imperfect word-soaked soft romance anchored by its commendable performances and aesthetic film-making.