Inn Galiyon Mein

While Javed owns the part of a Kabir-inspired tea seller, Vivaan surrenders to the surroundings in perhaps his best performance. Avantika takes time to blend in but doesn’t disappoint. Remembered for Anarkali of Arrah, director Avinash Das has a flair for imbuing progressive and liberal thought in the desi milieu. He doesn’t hold back his punches in exposing how political chameleons operate. Employing a traditional device of literature to speak truth to power, he posits the character of a madman (Ishtiak Khan). His relentless appeal for discovering the spirit of India is the sanest advice.

The first half is engaging, with the conflict introduced at just the right time. However, post-intermission, the narrative struggles under the weight of its own intentions. Communal tension is reduced to graphics popping up on screen, detailing social media discussions—a rushed and overly simplistic approach that dilutes the film’s early nuance. The ending, too, feels abrupt. Despite this misstep, Inn Galiyon Mein remains a well-intentioned film that handles a sensitive subject with care. The performances are convincing, with Jaaved Jaaferi delivering the standout act. Vivaan Shah embodies the charm of a roadside romeo effortlessly, while Avantika makes a confident debut. The eccentric Bhanga (Ishtiyak Khan) serves as an all-knowing presence but has limited impact, and Sushant Singh is reliably effective.