Bhool Chuk Maaf: A Time-Loop Comedy with Heart and Hiccups
In a year filled with sequels and star vehicles, Bhool Chuk Maaf is a refreshing break that blends small-town romance, absurd comedy, and an air of science fiction in an unusual but relatable manner. Directed by Karan Sharma and produced by Dinesh Vijan under the banner of Maddock films, this Hindi-language film from 2025 stars Rajkummar Rao and Wamiqa Gabbi in the lead roles, supported by an ensemble cast of seasoned performers that includes Seema Pahwa, Sanjay Mishra, Raghubir Yadav, and Zakir Hussain.
A Wedding Frozen in Time
Set in the beautiful lanes of Varanasi, Bhool Chuk Maaf follows the journey of Ranjan (Rajkummar Rao), a hopelessly romantic man who is eager to marry his girlfriend, Titli Mishra (Wamiqa Gabbi). Ranjan’s mother, who is played by Seema Pahwa, insists that he get a government job before getting married, a typical small-town problem. Ranjan, willing to get the job anyway he can, resorts to untruthful means to obtain the job and unknowingly sets off a chain of events that goes out of control.
Just when the wedding celebrations seem to start coming together, Ranjan finds himself caught in a strange time-loop and has to relive the day of his Haldi ceremony repeatedly. While Titli is blissfully ignorant of the situation, Ranjan struggles to free himself from the infinite loop, rectify his mistakes, and, more importantly, move forward. The film cleverly uses a sci-fi dramedy premise to engage with themes of merit, morality, and second chances, all sprinkled with layers of humor and emotion.
Performances: The Heart of the Film
The best part of Bhool Chuk Maaf lies in the cast. Rajkummar Rao, as always, brings a lot of sincerity and weight to Ranjan, although the screenplay does not necessarily give him great range. He successfully plays the nervous, well-meaning but flawed small-town guy, and achieves little victories to win the sympathy of the audience even through his bungling misfires. Wamiqa Gabbi lights the screen up as Titli, easily infusing the essence of a “papa ki pari” with plenty of charm and a little impishness. Of course, she shares a breezy chemistry with Rao, and styles her comedic and emotional beats with aplomb.
The film is also well supported by the rest of the cast—Seema Pahwa as the strict mother, Sanjay Mishra as the ironically named middleman Bhagwan, and Raghubir Yadav as the wise elder—who each add dimensions of authenticity and color to the small-town setting. Collectively, they ground the film and help to make the corniest of moments relatable and real.
Direction, Writing, and Setting
Karan Sharma’s direction is confident, particularly in encapsulating Varanasi’s essence. The city itself is not just a mere bystander – it is a character itself. Between the busy lanes, the area’s rituals and eccentric citizens, Sharma has captured the flavor of the city. While it could be noted that Sharma mentions the décor of the wedding and dialogue between neighbors as examples of intimate detail, it ultimately gives the film a stronger, more lived-in quality.
Co-written by Sharma and Haider Rizvi, the script starts with a strong premise. The time loop device works well in demonstrating the ramifications of Ranjan’s decisions, while also underscoring the importance of honesty. Unfortunately, the second half of the film is plagued with repetitiveness, as the time loop sequences became stagnant and are predictable, which makes pacing in parts fall flat, with the concern for audience’s patience in questioning if the second half of the film is just stuck in a time loop – like the protagonist.
Despite all this, the film ultimately delivers its intended message about merit, all without being preachy. The climax was heartfelt and entertaining, paying off the earlier story slips.
Music and Technical Aspects
The music by Tanishk Bagchi and Gifty Mehra is perfectly fine. Songs like “Koi Na” and reimagined “Chor Bazaari” serve the context pretty well, but will surely not live on after the credits roll. Ketan Sodha’s background score is a subtle and effective piece that amplifies the emotional beats of the film without overpowering the scenes.
The film is bright, colorful, and has the same spirit as a small-town wedding. The cinematography encompasses both the chaos and charm of Varanasi, while the editing allows for tight scenes in most parts, and the repeated loop of sequences, tailored again for duration, could be trimmed down.
Box Office and Reception
Bhool Chuk Maaf had a solid box office start, is coming in with 6.75 crore on day one, which for a mid-budget film with no real competition that week is solid. The audience came in, and occupancy grew as the day progressed, which is a positive sign for word of mouth. The film performed especially well in cities like NCR and Bengaluru, while Mumbai and Pune provided decent numbers as well.
Critical reception has been mixed to positive Reviewers praised the performances and the authenticity of the setting. However, there are criticisms of constant repetition in the second half and use of clichés, which remain common complaints. The Times of India rated it at 3 stars, noting the strong cast and that the film is made for the masses, but described it as not breaking new ground for Rajkummar Rao. Koimoi echoed these sentiments. While describing the film as a nice watch with a good message, they also noted the repetitive plot points, which they found an issue. Hindustan Times took a harsher view of the film, describing it as “the cinematic equivalent of a WhatsApp forward – familiar, repetitive and at best mildly funny.
Final Verdict
Rating: 3 out of 5 stars
What a funny, weird, heartfelt comedy that stumbles but wins you over with its sincerity.
