Nakhrewaalii (2026) Review!!

Synopsis – Small-town Sumit Mishra moves to Delhi and falls for Paridhi, but her father’s insistence on a government-employed son-in-law complicates things. Convinced women have it easier, Sumit disguises himself as a woman, only to discover the realities of gender inequality, double standards and relationships.

My Take – For some reason, Hindi cinema has long been fascinated with the comic device of men disguising themselves as women. From Rafoo Chakkar (1975) and Laawaris (1981) to Chachi 420 (1997), Aunty No. 1 (1998), Baazi (1995), Jaan-E-Mann (2006), Apna Sapna Money Money (2006), and Humshakals (2014), Bollywood has repeatedly returned to the same well. Shah Rukh Khan’s disguise in Duplicate (1998) remains memorable, while Ayushmann Khurrana has built an entire franchise around the concept with the Dream Girl films.

It is hardly unexplored territory. In fact, filmmakers have been recycling this particular gag for decades, long after its comedic value diminished and its underlying stereotypes began to feel increasingly dated and insensitive. This latest effort, however, initially appears intent on taking a different route.

Set in a world populated by eccentric personalities, small-town quirks, impulsive romance, and a lived-in earthiness characteristic of an Aanand L Rai (Tanu Weds Manu, Raanjhanaa) production, it attempts to do more than mine easy laughs. The film flirts with ideas about gender expectations and the ways relationships are perceived and defined.

That is until, the second half abandons much of that promise, discarding the nuances it carefully establishes in favor of familiar, broad comedy that feels uncomfortably close to a rehash of Dream Girl 2 (2023). On paper, the premise of a man adopting a female identity to win someone’s affection has the ingredients for an entertaining romantic comedy. There are scattered moments of humor and a handful of amusing situations that land, but director Rahul Shanklya (Meri Nimmo) struggles to bring a fresh perspective to a concept audiences have seen countless times before.

The screenplay by Divy Nidhi Sharma and Satya Vyas needed sharper wit, richer characterization, and a stronger emotional core to elevate the material beyond its predictable beats. Sure, its heart is undoubtedly in the right place, and the newcomer leads lend the film a welcome sense of freshness. Yet despite its good intentions, the film never quite leaves a lasting impression, borrowing liberally from familiar tropes without contributing anything particularly distinctive of its own.

The story follows Sumit Mishra (Ansh Duggal), a young man from Hardoi, Uttar Pradesh, who has enjoyed dressing up as his sisters during festivals since childhood and occasionally slips into female attire when circumstances demand it. His latest misadventure sees him attempting to elope with his girlfriend from her wedding, only to be publicly rejected when she denies loving him at the police station.

Heartbroken and humiliated, Sumit vents his frustration openly by defaming her before leaving for Delhi with his best friend, Jhaddi (Akash Makhija), determined to start life anew without emotional entanglements. Things take an unexpected turn when he meets Paridhi (Pragati Srivastava), the younger daughter of his landlord, and the two find themselves discussing the challenges of navigating society as a man and a woman.

At the same time, Sumit is drawn to Mihika (Aayushi Verma), a fellow university student whose outlook on love and relationships could not be more different from Paridhi’s. Torn between contrasting ideas of romance, Sumit eventually realizes that Paridhi is the person he truly wants to be with. However, her father, Batuk (Gopal Datt), has set his sights on a government officer as his future son-in-law.

When conventional methods fail, Sumit resorts to a familiar tactic, adopting the alter ego of “Sumita” and disguising himself as a woman to achieve his goal. What follows is a series of misunderstandings, romantic complications, and social observations that attempt to blend comedy with commentary on gender roles and relationships.

The film has all the ingredients of a familiar small-town rom-com: earnest characters, good intentions, and a socially relevant message. For a while, it works. The first half is genuinely engaging, driven by sharp conversations about gender roles, relationships, and societal expectations. The newcomer leads share a lively chemistry that occasionally recalls Band Baaja Baaraat (2010), yet they bring enough charm to make Sumit and Paridhi feel distinct and relatable. What makes the film interesting is that Sumit is not an outright misogynist but an ordinary young man carrying everyday prejudices he barely recognizes.

His transformation into “Sumita” forces him to confront the inconveniences, assumptions, and double standards women face, giving the cross-dressing premise an unexpected thematic edge. The idea of a man realizing life is not easier for women after experiencing it firsthand is genuinely compelling. Unfortunately, the film loses its way precisely when that realization should matter most.

The second half abandons nuance for increasingly illogical situations, repetitive comedy, and contrived twists. What begins as a thoughtful exploration of gender and relationships slowly devolves into a frustrating farce. The screenplay also never fully capitalizes on its promising premise, relying instead on predictable gags and forced humor.

While comparisons to the Dream Girl films are inevitable, this one lacks the wit, comic timing, and narrative discipline that made those films commercially successful. Ironically, the romance is stronger than the comedy. The central relationship has warmth, but the jokes rarely land, and several supporting characters are reduced to broad stereotypes. Ultimately, this one is less a bad film than a confused one, packed with interesting ideas but uncertain how to develop them into a satisfying whole.

Performance wise, Ansh Duggal brings both charm and sincerity to Sumit. He deserves particular credit for portraying Sumit’s cross-dressing alter ego with restraint and personality, avoiding the broad caricature the role could easily have become. Pragati Srivastava is equally impressive, lending Paridhi a spirited, independent presence that makes her instantly likeable.

Aayushi Verma leaves a pleasant impression as Mihika despite limited scope, while Akash Makhija delivers much of the film’s effective humour with effortless comic timing. Among the supporting cast, Kumud Mishra, Gopal Datt, Kajol Bhandari, and the rest provide dependable support, even if the screenplay gives them little to do. On the whole, ‘Nakhrewaalii‘ is an amiable but uneven rom-com that starts with an intriguing premise and genuine charm, only to be derailed by a frustratingly incoherent second half.