Name: Darlings
Genre: Comedy
Released: 2022-08-05T00:00:00+00:00
Cast: Alia Bhatt, Shefali Shah, Vijay Varma, Roshan Mathew, Rajesh Sharma

The moment Badrunissa Shaikh (Alia Bhatt) drags her unconscious husband Hamza (Vijay Varma) into their Mumbai apartment, Jasmeet K. Reen’s Darlings (2022) announces its intentions: this is a dark comedy that won’t flinch from domestic horror. The film follows Badru as she hopes for reform from her abusive spouse, only to spiral into a messy revenge plot with her mother Shamshunissa (Shefali Shah). Reen’s feature debut is a bold, if uneven, exploration of marital violence and maternal bonds.

At its best, Darlings delivers sharp, visceral humor. The opening sequence—Badru’s futile attempts to “fix” Hamza—is a masterclass in comedic tension. Bhatt’s physical comedy shines as she wrestles with her husband’s limp body, the absurdity of her situation heightened by Reen’s tight framing and rapid editing. Shah is equally compelling as Badru’s mother, their dynamic grounded in a believable mix of love, frustration, and shared trauma.

The film’s strength lies in its performances and specific scenes that cut through the chaos: a tense standoff between Badru and Hamza in their cramped apartment, or Shamshunissa’s quiet rage boiling over into darkly funny schemes. Reen’s direction is confident, particularly in these moments of high tension, where she balances humor and horror with precision.

However, Darlings stumbles when it tries to juggle too many tones at once. The pacing falters during the middle act, as the plot meanders through convoluted revenge schemes that strain credibility. Some jokes fall flat, and the film’s attempt to blend slapstick with serious themes of abuse sometimes feels disjointed.

Moreover, while Bhatt and Shah carry the film, Vijay Varma’s performance as Hamza is one-note, reducing a complex issue like domestic violence to a cartoonish villain. The supporting cast, particularly Roshan Mathew as Zulfi and Rajesh Sharma as Kasim Kasai, provide welcome levity but are underutilized.

Reen’s originality shines through in her unflinching portrayal of marital strife and the bond between mother and daughter. However, the film’s genre fit is problematic—it walks a tightrope between dark comedy and domestic thriller that isn’t always convincing. The tonal shifts can feel jarring, making it difficult to fully invest in the story.

In the end, Darlings is a promising debut marred by pacing issues and tonal inconsistencies. While Bhatt and Shah deliver standout performances, the film’s structural flaws and uneven tone prevent it from reaching its full potential. It’s a bold attempt to tackle serious themes with humor, but one that ultimately stumbles in execution.

The film is likely to appeal to fans of dark comedies who enjoy exploring complex emotional landscapes. However, those seeking a more cohesive narrative or nuanced portrayal of domestic abuse may find Darlings disappointing. Reen’s vision is undeniably ambitious, and there are moments of genuine brilliance, but the execution falls short of the mark.

Comparisons to other dark comedies like Gone Girl or Thelma & Louise are inevitable, but Darlings lacks the tightly woven narrative and character development that make those films so compelling. Instead, it feels more akin to a series of vignettes, each exploring different aspects of Badru’s struggle, but never quite coalescing into a satisfying whole.

One of the film’s most striking elements is its exploration of maternal bonds. The relationship between Badru and her mother Shamshunissa is the heart of the story, providing both emotional depth and comedic relief. Shah’s performance is particularly noteworthy, as she effortlessly balances humor and pathos. Her portrayal of a woman pushed to her limits by circumstance is both relatable and deeply moving.

However, the film’s attempts to blend humor with horror sometimes feel forced. The tonal shifts can be jarring, making it difficult to fully invest in the story. This is particularly evident in the film’s climactic sequence, which feels rushed and underdeveloped. The resolution of Badru’s revenge plot lacks the emotional weight and satisfaction that the buildup promises.

In terms of technical execution, Darlings is generally solid. Reen’s direction is confident, and the cinematography effectively captures the claustrophobic atmosphere of Badru’s life. However, the editing sometimes feels haphazard, with transitions between scenes lacking smoothness. The soundtrack also misses opportunities to enhance the film’s emotional impact, relying too heavily on generic compositions.

Ultimately, Darlings is a film that tries to do too much but doesn’t quite succeed in any single aspect. It’s an ambitious debut that tackles important themes with humor and heart, but its structural flaws and tonal inconsistencies prevent it from reaching its full potential.