Sylvie 
In a year defined by sequels and derivative blockbusters, Maa (27 July 2025) is unique in its unsettling combination of mythology and horror. Not only does Maa represent Kajol’s second outing as a leading actress, but it also seeks to connect the bone-chilling story of mythological monster Raktabija with the visceral, emotional journey of a mother trying to find justice. Directed by Vishal Furia and produced by Ajay Devgn, Maa is uniquely ambitious, complex thematically, but very uneven in delivery.
The story follows Ambika, a devoted mother living in a remote village, whose daughter Gauri disappears without explanation during a local festival that calls upon ancient gods and old rituals. As Ambika works to find her daughter, she unearths a past that connects her to the terrible, terrifying old customs and an ancient curse. Her investigation leads her to the truly horrifying story of Raktabija, the demon who multiplies every time his blood touches the earth. With no one to turn to and faced with supernatural forces, she channels her inner strength, eventually becoming a symbolic embodiment of Goddess Kali herself.
Kajol is the film’s strongest asset. She delivers a powerful and emotionally charged performance as Ambika. She embodies the hurt, pain, and anger of the mother who will not succumb to destiny, nor fear. The moments where she is broken silently in front of the villagers or defiantly visits the village elders have a deep resonance. The shift from a broken woman to one filled with hatred and divine vengeance feels real even when the screenplay briefly falters.
The film’s aesthetic is impressive and immerses them in the world, from dull and dusty village streets to foggy ritual grounds to eerie abandoned temple interiors. The consistent tone is unnerving, and the atmosphere feels like it is steeped in folk horror. There is unevenness to the visuals; some scenes, particularly the climax, are achingly beautiful, while others rely too much on CGI that can seem incomplete or sometimes too much.
The film’s biggest challenge lies in its pacing. The first half unfolds very slowly, focusing more on build-up than action. While this method can work in horror, here it feels stretched. Some viewers may find themselves waiting too long for the tension to rise. The second half picks up speed, but even then, some key moments feel rushed or overly explained. Instead of letting the horror emerge naturally, the film often pauses to explain its mythology in long dialogues, breaking the suspense.
The writing shows flashes of brilliance, particularly in scenes that link Ambika’s struggle with mythological archetypes. There’s an effort to position the mother not just as a victim or savior, but as a vessel of divine rage. However, these ideas are not fully explored. Gauri, the daughter, remains more of a plot device than a character. The emotional bond between mother and daughter, which should have been the heart of the film, isn’t fleshed out enough to feel deeply moving.
Audience reactions have been divided. Many viewers praised Kajol’s performance and the film’s novel concept, while others found the execution lacking. On social media platforms like Reddit and Twitter, some called it “visually stunning but emotionally flat,” while others appreciated its attempt to break away from Bollywood’s usual horror tropes. Film critics also gave mixed reviews, with most praising the ambition but critiquing the screenplay and pacing. Box office numbers have been modest, with a decent opening weekend but far from blockbuster status.
In the end, Maa is a film that dares to be different. It doesn’t always succeed, but it offers enough in terms of atmosphere, performance, and thematic depth to merit a watch, especially for fans of horror that leans into cultural lore. Kajol’s role alone makes it worth experiencing, and while the film doesn’t deliver on every promise, it opens the door for more bold, genre-blending experiments in Indian cinema.
FOR MORE UPDATES, VISIT FLICKBITES
About The Author
