In a world where horror often relies on predictable jump scares or excessive gore, “Maa” stands out as a breath of fresh air. Drawing from Indian folklore and infused with a powerful maternal essence, Vishal Furia’s latest supernatural thriller shines with emotional depth, cultural richness, and Kajol’s captivating performance. While it might hit a few bumps in pacing, “Maa” offers a gripping, immersive experience that honors the unwavering strength of motherhood—both human and divine.
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Join Telegram ChannelSet in the fictional village of Chandarpur, which is haunted by a centuries-old curse, the story reveals how girls from a specific bloodline are sacrificed to a demon linked to the legend of Maa Kali. Furia skillfully intertwines the myth of Daitya—a demonic entity residing in a cursed tree—with the harsh realities of patriarchal superstition that disguises cruelty as tradition. Ambika, portrayed by Kajol in what could be her most grounded yet intensely powerful role in recent years, becomes the driving force in this struggle against fate, fear, and folklore. Her journey transcends the typical narrative of a mother saving her daughter; it’s about a woman facing a legacy of violence and rewriting it with fierce determination.
Visually, “Maa” exceeds expectations for a mid-budget horror film. The frames are rich with detail: dusty village streets frozen in time, eerie silences interrupted only by the distant cry of a crow, and the ominous presence of a banyan tree that seems to have a life of its own. The atmosphere is consistently unsettling, yet never feels cheap. The sound design is crucial, with haunting whispers and chants that creep into your ears even during the film’s quietest scenes. And when the action kicks in—especially in the second half—it’s delivered with both excitement and artistic flair.
The story definitely takes its time to unfold. The first 40 minutes can feel a bit drawn out, packed with exposition and hints that could have been delivered more succinctly. But once the film hits its stride, there’s no looking back. A particularly thrilling car chase featuring Ambika and her daughter Shweta (played by Kherin Sharma, who brings a fresh and impressive energy) stands out, blending fear with a sense of maternal urgency. The final showdown is bloody, primal, and powerful — and while it might not be perfectly executed, the raw emotion behind every action feels genuine and hard-earned.
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On a thematic level, Maa carries a heavy load. It weaves together horror, tradition, womanhood, and rebellion, and for the most part, it pulls it off. The symbolism of menstruation — which is seen as a curse in the village — becomes central to both the horror and the empowerment in the narrative. Shweta’s first period not only awakens the demon’s hunger but also ignites Ambika’s transformation. Here, Furia and his team show impressive restraint and depth: rather than sensationalizing the moment, they treat it with both reverence and anger. It’s about reclaiming what the villagers fear — the life-giving force that connects women to the divine.
As expected, Kajol steals the show. She delivers a masterclass in both restraint and intensity, balancing the maternal with the mythical. Whether she’s crying in despair or unleashing her fury, she captivates without ever veering into melodrama. Her portrayal of Ambika feels authentic, fierce, and passionate — a tribute to every woman who has had to stand strong against systemic violence and still find the courage to protect.
The supporting cast really helps ground the story. Ronit Roy adds a sense of depth and intrigue to his role as the sarpanch, while Indraneil Sengupta brings a gentle touch as Shuvankar, whose death sets the whole plot in motion. Jitin Gulati and Roopkatha Chakraborty also stand out in their short but impactful roles. A special shoutout goes to the film’s music, particularly the “Kali Shakti” chant that electrifies the climax, giving the action an almost ritualistic intensity.
There are a few rough patches, though. Some of the visual effects during the climax feel a bit shaky, and the subplot tied to the film Shaitaan doesn’t really resonate. It comes off as an afterthought—more like a studio requirement than something essential to the story. Still, these are just minor bumps in what is otherwise a thoughtfully crafted and well-acted film.
By the time the credits roll—where the filmmakers honor all mothers by including their names as middle names for the cast and crew—Maa has certainly made its mark. It’s a horror film, sure, but it’s also a tribute to the divine feminine, a powerful shout against silence, and a reminder that a mother’s fury, once ignited, is as fierce as that of a goddess.
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Maa isn’t just a film to watch; it’s an experience to feel.
