Lost (2023) – A Missed Opportunity for a Thought-provoking Thriller
Lost, the latest film by Aniruddha Roy Chowdhury, director of the critically acclaimed Pink, attempts to delve into the complex and often heartbreaking issue of missing persons in India, specifically focusing on the case of a young Dalit theatre activist. While the film boasts a strong cast and several moments of genuine intrigue, its narrative struggles to maintain its momentum after the halfway mark, ultimately leaving viewers with more questions than answers.
The film begins with a familiar premise, introducing journalist Vidhi Sahani (Yami Gautam) who becomes entangled in the investigation of Ishan’s (Tushar Pandey) disappearance. Initially, the film effectively sets the stage, weaving a compelling narrative that touches upon the complexities of caste-based discrimination, political influence, and the dangers of activism in contemporary India. The film cleverly utilizes its setting in Kolkata to reinforce these themes, adding a nuanced layer to the narrative.
However, despite the strong initial setup, Lost stumbles in its execution. The motivations behind the characters’ actions often feel murky and insufficiently explored, while the film frequently veers into unnecessary subplots, such as Vidhi’s relationship with her wealthy parents or the underdeveloped character arc of Ankita Chauhan (Pia Bajpiee).
While the acting performances are mostly commendable, the overall narrative lacks cohesion. Yami Gautam delivers a capable performance, but unfortunately, her character’s emotional journey feels uneven and disjointed. Pankaj Kapur as Vidhi’s grandfather, and Rahul Khanna as the charismatic but manipulative state minister Ranjan Varman, shine in their respective roles and offer moments of genuine depth. However, their individual brilliance cannot compensate for the film’s overall weaknesses.
The film’s biggest flaw lies in its inability to provide satisfactory explanations for the actions of its main characters. The roles of Ranjan Varman and Ankita Chauhan, in particular, remain shrouded in ambiguity, and their motivations seem inconsistent and often illogical until the very end.
Despite these shortcomings, ‘Lost’ does manage to present some poignant moments. Vidhi’s relationship with Ishan’s sister, Namita, highlights the shared struggles of women facing societal pressures while trying to find their place in a complex world. Additionally, the film does a good job of exposing the casual prejudice faced by marginalized communities, as seen in the scene where Vidhi’s boyfriend, Jeet, (Neel Bhoopalam) condescendingly dismisses the plight of Dalit youth.
The film’s final message, while relatable and commendable, feels ultimately hollow. Lost, in its attempt to highlight the importance of looking beyond superficial narratives and seeking truth, unfortunately succumbs to the very flaw it tries to address. It fails to provide a clear and cohesive narrative, leaving the audience with a sense of frustration and disappointment.
The film’s potential is undeniably there, but it ultimately falls short of realizing its full potential. ‘Lost’ is a missed opportunity to deliver a truly impactful and thought-provoking thriller. While promising in its initial stages, it fails to live up to its premise, leaving viewers feeling confused and unsatisfied.
