Nayyi Navelli (2026) Review!!

Synopsis – A picture-perfect bride transforms a chaotic Meerut household into paradise. But when her brother-in-law grows suspicious, he begins to wonder: is the ideal daughter-in-law actually an evil force from another world?

My Take – Despite repeatedly proving that she possesses the talent, charisma and screen presence to headline a film, Yami Gautam remains one of the most underappreciated actors in Hindi cinema. While her beauty and natural charm are undeniable, it is her remarkable versatility that deserves far greater recognition.

Whether delivering a restrained, layered performance in A Thursday (2022), anchoring the political drama of Article 370 (2024), showcasing impeccable comic timing in Bala (2019), or shining in films such as Chor Nikal Ke Bhaga (2023) and Dasvi (2022), Gautam moves effortlessly between genres, bringing conviction and nuance to every role, regardless of whether the material demands intensity, humor, vulnerability or authority.

Unfortunately, her latest outing is unlikely to earn her the widespread acclaim her talent so richly deserves.

With Indian folklore enjoying renewed popularity in Hindi cinema, this collaboration between Amazon MGM Studios and Aanand L. Rai’s Color Yellow Productions attempts to tap into that trend with a story steeped in ancient legends, gods and demons. Much like recent underwhelming mythology-inspired ventures such as The Vvaan: Force of the Forest (2026) and Maa (2025), the film tries to juggle horror, comedy, mythology and feminist themes within a single narrative.

Yet despite occasional moments of humor, an intriguing central idea and Gautam‘s committed performance, the film gradually collapses under the weight of its own ambitions. With each new narrative element adds complexity, but very little genuine engagement.

Directed by Balaji Mohan, best known for the Maari films, the horror-comedy struggles to deliver either effective scares or memorable laughs. The concept of exploring a lesser-known chapter of the Ramayana through a horror-fantasy lens certainly holds promise, and the idea of bringing the mythology of the Treta Yuga into contemporary Meerut could have resulted in something refreshingly original. However, a compelling premise requires a screenplay with clarity and purpose. Here, mythology feels less like the story’s foundation and more like another ingredient tossed into an already overcrowded mix.

Written by Divy Nidhi Sharma from a story by Himanshu Sharma, the film buries its potential beneath a barrage of garish visuals, convoluted plotting and a cast of talented actors seemingly encouraged to outdo one another in exaggerated performances.

Set in Meerut, the story centers on the Awasthi family as they final settle down after the long-awaited wedding of the middle-aged Pinky (Mita Vashisht) to the much younger AS Vishal (Aaditya Kulshreshth) finally ends. However, Bantu (Anurag Thakur), a talkative law student frequently dismissed by his family as a habitual marijuana user, has other plans, especially when he makes a

startling claim: Mohini (Yami Gautam Dhar), the newlywed bride of his elder brother Raja (Adinath Kothare), is actually a witch. His accusations are initially met with ridicule and disbelief, but as a series of strange and unsettling incidents begin to unfold, the family is forced to confront the possibility that Bantu may be telling the truth. What follows is a supernatural clash that pits the Awasthis against a powerful evil, culminating in a battle between dark forces and those determined to stop them.

The central idea is undeniably intriguing, drawing on a lesser-known chapter of the Ramayana and weaving it into a horror-fantasy framework. The film delves deep into Hindu mythology and attempts to bridge them with the modern age. It is a concept rooted in a fascinating question: what if Ravana never truly died and was destined to return? By imagining such a possibility unfolding in present-day Meerut, the film sets the stage for what could have been a distinctive blend of mythology and genre storytelling.

Sadly, while the premise is imaginative, the execution falls considerably short. For a film marketed as both a horror and comedy, it struggles to succeed in either department. The humor is largely built around exaggerated reactions, repetitive family squabbles and broad slapstick moments that quickly wear thin.

The opening act spends far too much time immersing viewers in the chaotic dynamics of the Awasthi family, delaying the actual narrative to the point where patience begins to wear out before the story truly gets underway. Likewise, the horror elements never generate the atmosphere or tension needed to leave an impact.

Several scenes are designed to be eerie or unsettling, yet they arrive without the buildup necessary to make them effective. The action sequences further compound the film’s problems. Nearly every confrontation is stretched far beyond its natural endpoint, transforming potentially exciting set pieces into exhausting spectacles. Just when the narrative appears ready to gain momentum, it becomes trapped in another overextended battle or frantic exchange, preventing the story from moving forward with any urgency.

The film also flirts with a potentially compelling commentary on how women are judged, controlled and labelled by a patriarchal society. However, this feminist subtext never evolves into anything substantial. It surfaces intermittently before being pushed aside by yet another mythology reveal or an unnecessarily prolonged action sequence. As a result, despite the sheer volume of events unfolding on screen, very little resonates on a deeper level or coalesces into a satisfying whole.

On the technical front, the visual effects are reasonably competent, but the overall visual presentation lacks refinement and imagination. G. V. Prakash Kumar’s music is largely forgettable, while the background score frequently resorts to excessive volume in an attempt to manufacture excitement, often becoming more distracting than effective.

Performance wise, Yami Gautam Dhar rises above the film’s many shortcomings with a committed and commanding performance. Even when the narrative loses its way, she remains a compelling screen presence, bringing conviction and emotional weight to a character that deserved a stronger script. Adinath Kothare is solid as Raja Awasthi, while Anurag Thakur, Sunita Rajwar, Mita Vashisht, Sushmita Mukherjee, Sonal Jha, Aaditya Kulshreshth, Prateek Pachauri and Rajesh Dubey switch between hamming and decent work as they struggle to overcome the film’s inconsistent screenplay and tonal confusion. On the whole, ‘Nayyi Navelli‘ is a muddled horror-comedy that wastes a promising premise and Yami Gautam Dhar’s strong performance.