Mayasabha (2026) Review!!

Synopsis – In a Mumbai theater, a producer, his son, and two intruders clash during one night over hidden treasure. As they search for gold, deception grows, secrets emerge, and past wounds resurface.

My Take – Though much of the fascinating success of Tumbbad (2018), particularly its cult status and massive second innings run in its theatrical re-release is awarded to producer/star Sohum Shah, it’s hard to ignore what co-writer and director Rahi Anil Barve‘s eerie, imaginative penmanship, and stunning execution brought to the what is now (deservingly) considered as one of the best Hindi horror films ever made.

Unsurprisingly, his second directorial, which releases nearly six years of production, is also a slow-burning eerie thriller and circles the same obsession about what greed does to the human mind. Replacing those retched gold coins with 40 kg of gold biscuits hidden inside a crumbling theater. Once again choosing atmosphere over conventional storytelling and values mood, symbolism, and performance over clear answers and entertainment, here, writer-director Barve clearly intended to bring something deeply personal, experimental, and intentionally uncomfortable.

However, while the film is ambitiousness in present and contains a pure cinematic quality too, the uneven execution leaves us with a somewhat of disappointing experience.

Sure, the imagination is solid as we are introduced to a visually striking and intriguing world, and mightily impresses with its performances and mood, but the narrative also struggles with clarity, emotional engagement and never quite lands the knockout blow its pedigree promises.

Running for just 104 minutes, the smoky atmospheric set reels us in immediately, but the vague tale and self-indulgent storytelling struggles to elevate the film from interesting to brilliant. Consequently making the immersion more admirable than gripping.

The story follows Parmeshwar Khanna (Jaaved Jaaferi), a reclusive and mysterious once-successful film producer, who now lives with his unattended and terribly gullible son, Vasu (Mohammad Samad), in isolation inside a dilapidated theater, mostly operating a DDT or mosquito-killing smoke gun, still reeling in with the psychological and financial loss caused by his actress wife who left him for her co-star, as he waits for the crumbling to complete its course.

However, the local rumors claim that Parmeshwar has hidden nearly 40 kilograms of gold somewhere inside. And while many have searched and tried to loot, both legally and illegally, none have been able to prove its existence. The latest to try their hand come in the form of Zeenat (Veena Jamkar) and Ravarana (Deepak Damle), a brother-sister drifter duo, who are invited in by Vasu, and promised a share if they are able to wrangle information about the hiding place from the old man.

Though they are posing as friends, Parmeshwar’s unstable mind, sharp intelligence, and his unspoken hold over his son make the night increasingly dangerous. As the night progresses, masks fall away, and the search for gold slowly turns into an exploration of the characters’ darkest past secrets. From there on, the film peels back layers of deception, exposing not just the truth about the gold but also the characters’ moral decay.

Here, director Rahi Anil Barve once again proves his mastery over mood and atmosphere. Like his earlier work, this one too thrives on unease rather than jump scares. The visuals mirror Parmeshwar’s fractured mind, and the writing keeps things contained, letting tension simmer through dialogue and silences.

The slow pacing is deliberate, meant to pull the viewers into a psychological maze rather than offer quick thrills. The theater itself becomes a living, breathing character. Filled with props, barely functioning objects, and articles that testify to the loss and pain faced by Parmeshwar. Its dark corridors, broken screens, and echoing halls mirror the fragile mental states of those trapped inside.

However, the same ambition that makes the film visually striking also works against it. Within this cautionary tale about greed lies a tender story of a boy trying to find the strength to escape the allure of illusion—but due to weak writing, this emotional core never fully emerges. Instead, the script often feels self-indulgent, with metaphors and mind games that may confuse rather than intrigue.

The heavy reliance on symbolism also means emotional clarity often takes a back seat to conceptual ambition, leaving the viewer admiring the intent more than engaging with the characters’ inner lives. Some narrative choices lack logical clarity, which can test the viewer’s patience. Ultimately, occupying that slightly uncomfortable space reserved for films that command admiration more than affection. It’s intellectually engaging, often intriguing, but also quite emotionally distant.

Performance wise, Jaaved Jaaferi puts on a mighty fine show. Known largely for comedy and lighthearted roles, Jaaferi uses the platform to create a bold image reversal that stays with you long after the film ends. His character has many layers, and he surprises at every turn, easily delivering what can be called the best turn of his career.

Mohammad Samad brings innocence and emotional weight to the role of Vasu, acting as both a moral anchor and a silent observer to the manipulation and cruelty taking place in front of him. Veena Jamkar and Deepak Damle also perform their parts with restraint and leave a strong impression. On the whole, ‘Mayasabha‘ is a fascinating and meticulously crafted psychological drama that struggles to deliver on its full potential.