When the last living Jew, Moshe Ben Asher, died in Mauritius, an antiquities dealer landed at his funeral home and secretly slipped out of the wine cabinet with Jewish inscriptions on it. Later that night, a terrible accident happened at his shop.
Meanwhile, in Mumbai, a young interfaith couple, Sam (Emraan Hashmi) and Mahi (Nikita Duta), are ready to move their base to Mauritius. Where the latter will take over the management of a vast nuclear waste disposal facility.
After the couple landed in the island nation:
Mahi, an interior designer by profession, decided to renovate his new home. In Sam’s words, “Charity starts at home.” Later, when Mahi goes antique shopping for her house. The same box from Asher’s house catches her eye. Your unknown newcomer has a vengeful Dybbuk.
When supernatural events unfold at home, Sam is forced to seek help from his guardian, Father Gabriel, local Jewish priest Marcus (Manav Kaul), and a police officer. But soon, it does turn out that there is more paranormal activity in Sam’s house. Than how it seems at first glance.
You may also read ‘Idhe Maa Katha’ Review: A biker film that has no adventure or involved
There has been more than enough lack of horror in Hindi films over a decade, which begs the pertinent question, is horror one of the most challenging genres to solve? Not only in India but most horror films worldwide leave no trace and are more of stereotypical film production of the genre.
Uncertain deaths, ghostly silences, abandoned mansions, mysterious ghost stories, cameras are lurking behind curtains, scars popping straight out of closets, power outages in the house, and of course, rain! Dybbuk brings all the boxes and more stereotypes you can think of about this genre.
The film’s plot revolves around a Jewish myth about ghosts locked in boxes called dybbuks and causing chaos upon release. Emraan’s character discovers a work-related project that takes him to Mauritius to a villa rented by his employer. Emraan and Nikita’s characters struggle to adapt to their surroundings, and their excitement falls short when Dibbuk arrives at their home through an antique purchase.
The peculiarities of the story and director JK’s approach to photo design offers nothing new.
This film is less scary and more addictive and begs to reach its climax. One of the actual most challenging aspects of directing the horror genre is keeping the audience happy. Viewers come with certain expectations to feel a certain way during a horror film, and therefore directors feel compelled to take their vision and act as “horror”.
No one expects to fall in love watching a romantic movie in theatres. Still, everyone wants to legally frighten themselves during a horror story that presents a unique challenge to filmmakers.
Emraan’s appearance in the film is a reflection of someone sleeping without correction. He delivered his dialogues less enthusiastically and covered the rhythm of the scene without much emotion.
Nikita Duta had to bear the burden of scaring the audience at some points and justifying her character. In essence, an actor only relies on his imagination when doing scenes with ghosts in the room, and Nikita does not feel alien.
Dybbuk is a disinterested horror story that corrects his mediocre state without trying to rise above it. This film does not arouse the emotions of the audience. Dybbuk is broadcast on Amazon Prime Video.
With Dybbuk, Emraan Hashmi returns to his horror film love and makes a natural appearance after a long time. It’s also one of the reasons you stick with movies. The actor is confident even in exorcism scenes. Nikita Duta, who portrays the role of the woman he loves, takes on a manageable act.
Manav Kaul receives an exciting introduction as a rabbi, but unfortunately, his role quickly becomes predictable. Denzil Smith puts on a decent show. Imaad Shah and Darshana Banik played most of their limited roles.