There’s a gentle fondness to The Great Shamsuddin Family that slowly wraps itself around you, much like that relative who arrives unannounced and refuses to leave. Set almost entirely inside a Delhi apartment over one eventful day, Anusha Rizvi’s return to direction feels intimate, lived-in, and quietly confident. Nearly fifteen years after the acclaimed rural satire Peepli Live, Rizvi shifts from sharp political irony to urban domestic chaos, replacing bite with compassion, humour, and keen human observation. The shift feels deliberate, and largely rewarding.
The film follows Bani Ahmad (Kritika Kamra), racing to meet a crucial academic deadline, only to discover that deadlines are no match for family. Kamra anchors the film with a controlled, internally layered performance, playing Bani as capable yet emotionally exhausted. Shreya Dhanwanthary brings delightful unpredictability as the impulsive Iram, while Sheeba Chaddha excels as the perpetually anxious mother who believes worry is a full-time job. Juhi Babbar as Humaira, adds calm authority as the elder sister, often stepping in as the emotional mediator when tensions threaten to spill over. Farida Jalal is the film’s quiet strength, authoritative, sharp, and deeply comforting, while Dolly Ahluwalia brings an ease that feels instantly familiar. Purab Kohli’s Amitav is designed to irritate, and succeeds, though a reflective moment briefly saves him from complete exasperation.
The film isn’t without its rough edges. Some subplots overstay their welcome, a few lines announce their intentions too loudly, and the stage-like setting occasionally flattens the pacing.
Still, Rizvi’s human-centred direction keeps the film buoyant. Like a long winter afternoon with chai and family chatter, The Great Shamsuddin Family leaves you smiling, amused, and gently soulful.
Written by Bhannu Arora