Name: Haq (2025)
Genre: Drama, Social
Released: 2025-11-07
Rating: 7.3
Cast: Emraan Hashmi, Yami Gautam, Sheeba Chaddha, Vartika Singh, Danish Husain

Inspired by the landmark Supreme Court judgement,  Haq is the story of a woman's fight for her rights and justice.  Shazia Bano takes her husband Abbas to court after he abandons her and their children,  sparking a national battle over faith, women's rights and justice.

Haq (2025)

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Haq is based on the book 'Bano: Bharat Ki Beti' by Jigna Vora. Reshu Nath's story is inspired by true events and is very relevant. Reshu Nath's screenplay is gripping, though the writing drags in a few places. Reshu Nath's dialogues are one of the USPs. Several one-liners will lead to applause in cinemas.

Suparn S Varma's direction is superb. He keeps the narrative simple and doesn't complicate the proceedings with legal jargon. The lead character of Shazia Bano has been very deftly etched out. Hence, one can't help but root for her. Moreover, though many may have heard about the Shah Bano case, they might not know the nitty-gritties of it. HAQ does the needful and serves as an eye-opener.

HAQ’s first half will give the audience no reason to complain. The tension that erupts between Shazia and Saira is very well executed. The scene where Saira tells the truth to Shazia is memorable. The same goes for the scene where Shazia admonishes Abbas over his deeds. Post-interval, the courtroom scenes and the funeral sequence stand out. The final scene is a highlight.

On the flipside, there are moments in the second half where the interest dips. This is because the film becomes episodic. One doesn't get a justified feel of the hardships faced by Shazia, particularly the way she was ostracised in society. One would also wish that a little more run time was invested in showing what happened once the case reached the Supreme Court. Lastly, though relevant, the film will appeal only to the urban, multiplex audience.
After Article 370 [2024] and DHOOM DHAAM [2025], Yami Gautam delivers yet another memorable performance. In fact, this is her most accomplished act to date. The way she gets into the skin of the character is seen to be believed. Emraan Hashmi, too, puts his best foot forward. He's the negative lead, but he doesn't essay the role like a typical villain. This enhances the impact of his performance by many notches. Vartika Singh is a great find and delivers a fair performance. Danish Husain (Shazia's father), Sheeba Chadha (Bela Jain), Aseem Hattangady (Faraaz Ansari) leave a huge mark. Others also do well.
On the whole, HAQ emerges as a potent and hard-hitting drama that resonates through its commanding performances, emotional moments, and a gripping, well-orchestrated climax. At the box office, it is likely to open on a modest note; however, buoyed by positive word of mouth, it holds considerable potential to build steadily and leave a lasting imprint.

‘Haq’ tells an extremely relevant story, one that feels urgent and necessary. Inspired by true events, the film is a fictionalized and dramatized version of the story stated in the book Bano: Bharat Ki Beti, written by Jigna Vora. The film is an emotionally charged retelling of the historic Shah Bano case that shook India in the 1980s, and it traces the controversial maintenance lawsuit where the Supreme Court ruled in favour of divorced Muslim women. Suparn S Varma’s vision is clear—he wants to remind us that personal stories can often echo profound social truths. The result is a film that feels both urgent and deeply affecting. With Yami Gautam and Emraan Hashmi leading from the front, ‘Haq’ becomes a rare social drama that manages to stay engaging without ever turning preachy. It’s a story crafted with restraint, empathy, and a quiet sense of purpose.
Set in the 70s and 80s, this period film revolves around Shazia Bano (Yami Gautam), who lives in Aligarh with her husband, Abbas Khan (Emraan Hashmi), a well-respected lawyer. After three children and years of marriage, her life shatters when Abbas returns from Pakistan with his second wife, Saira (Vartika Singh). The humiliation that follows winds up in divorce after Abbas pronounces the three irrevocable words—talaq, talaq, talaq. Struggling to survive with even the bare minimum financial support withdrawn, Shazia approaches the courts for justice, supported strongly by her father, Maulvi Basheer (Danish Husain), who remains steadfast by her side. When the case reaches the Supreme Court, it becomes not only a legal battle but also a moral one that reflects the struggle of countless women across the country. Every scene feels grounded and real, drawing you into Shazia’s world of quiet defiance and resilience.
At its core, ‘Haq’ is a simple story told with sincerity—and that simplicity becomes its biggest triumph. The narrative never overcomplicates itself or resorts to unnecessary drama, unfolding in a linear and honest way. The director anchors the storytelling in emotion, never losing sight of the human cost beneath the legal and ideological battles. Much of the credit goes to Reshu Nath, whose writing—spanning story, dialogue, and screenplay—exudes clarity and cohesion. The film beautifully captures the texture of Western Uttar Pradesh, with dialogues that sound authentic and grounded in the soil. Every frame and line carries intention, resulting in an experience that’s both immersive and emotionally resonant.
‘Haq’ also thrives on its performances. Yami Gautam delivers one of her finest acts yet—she embodies Shazia’s pain, courage, and dignity with remarkable control. She dominates every frame, delivering a performance that’s understated and unforgettable. Emraan Hashmi matches her beautifully, portraying Abbas with restraint and moral ambiguity instead of overt villainy. His anger is quiet, and that subtlety works. Look for the courtroom exchange toward the climax, where Emraan and Yami’s characters face the Supreme Court judges and lay bare their beliefs with raw intensity. Vartika Singh as Saira is pleasant but somewhat underutilized, while Danish Husain as Maulvi Basheer brings compassion to the story. Sheeba Chaddha, as Bela, her steadfast lawyer, adds depth and gravitas to every scene she’s in. Together, the ensemble ensures that every emotional note leaves an impact.
It takes courage to make a film like ‘Haq’ in an era when action spectacles, horror, and comedies dominate the screens. Suparn S Varma directs it with unwavering conviction, turning what could have been a niche courtroom drama into a universal story about justice, faith, and dignity. Vishal Mishra’s songs may not linger long after the credits, but they serve the story well and add emotional texture. What truly sets ‘Haq’ apart is its refusal to confine itself to a community-specific narrative; instead, it emerges as a story of betrayal, resilience, and hope. It stands tall as a film that speaks for the voiceless, upholds its integrity, and reminds us that truth, when expressed with simplicity, can be the most potent form of protest.

There’s something deeply powerful about 'Haq'. It’s not the kind of film that screams for your attention, raises its voice or sensationalises its message, and yet, it leaves you shaken in ways few films manage to. Directed by Suparn Verma, 'Haq' takes inspiration from the historic Shah Bano case, but instead of being a courtroom saga built for headlines, it becomes a human story of a woman finding her voice in a system built to silence her.
The film opens with Shazia Bano (Yami Gautam) smirking as she’s forced to wear black to avoid the muck thrown at her. From there, the story travels back to 1967, to a small town in Uttar Pradesh, where her journey really begins. Verma builds the atmosphere slowly, letting us feel Shazia’s life before it begins to fall apart. And when it does, it’s brutal; not in a cinematic way, but in how ordinary it feels.

Her husband, Abbas Khan (Emraan Hashmi), is the kind of man who hides behind faith to justify cruelty. He may seem like a man besotted by his wife, but he is entitled, manipulative, and quietly terrifying. He marries again, abuses the concept of talaq, and weaponises religion to escape accountability. But the beauty of 'Haq' lies in how it doesn’t vilify religion itself. Verma’s lens is mature and balanced; he doesn’t pick sides but simply shows what happens when power, ego, and ignorance distort both faith and law.
The film highlights how society cherry-picks verses and misinterprets religious sayings to justify patriarchy, twisting faith’s essence while ignoring its call for equality and compassion. It also clarifies several misconceptions around Islamic laws and personal rights, which, in today’s climate, feels especially significant.

However, at the same time, the heavy use of Urdu in the screenplay might alienate some viewers. The person sitting beside me kept whispering throughout, “What does that mean?” -- and honestly, they weren’t at fault. While the language adds authenticity, it might leave a section of the audience lost in translation.

Apart from the writing (by Reshu Nath) and direction, what elevates 'Haq' are the performances. Yami Gautam is extraordinary as Shazia Bano. It’s a role that demands restraint, rage, and heartbreak, all in equal measure, and she delivers it with quiet brilliance. After a string of uniformed, nationalist roles, it’s refreshing to see her return to her emotional core. There’s something about the way she breaks down, holds back tears, and still stands tall -- that’s where Yami truly shines.
The film also touches upon how society protects men, normalises abuse, and teaches women to adjust in the name of peace. Lines like “Mard ka gussa hai" or "tum sula kar lo" hit hard because we have all heard them somewhere. The dialogues are, in fact, one of the film’s strongest assets. There are moments when the entire theatre erupted in applause, especially when Yami says, “Kabhi kabhi mohabbat kaafi nahi hoti, izzat bhi zaruri hoti hai.” It’s a line that perfectly encapsulates what 'Haq' stands for -- that love without respect is just another form of control.
The music isn’t particularly memorable, but it complements the narrative, adding emotional weight to scenes. The supporting actors, especially Sheeba Chaddha and Danish Hussain, stand out, while newcomer Vartika Singh also manages to deliver a sincere performance.

The film also explores Section 125 of the Criminal Procedure Code (CrPC) and its connection to alimony rights, following Shah Bano's case, showing how these stories shaped real-life legal reforms. However, the dissolution of the Supreme Court order by then-Prime Minister Rajiv Gandhi, and its aftermath has been reduced to just an after-credits slide.

In the end, Suparn Verma handles a deeply sensitive subject with rare restraint and grace, and Yami Gautam and Emraan Hashmi rise to the occasion with two of their most layered performances yet. Haq is a steady, courageous film that doesn’t beg for your sympathy; it earns your respect. It also reminds you that standing up for your dignity is, indeed, your haq.



In 1978, 62 year-old Shah Bano went to court demanding maintenance from her affluent lawyer husband Mohammad Ahmad Khan. In 1985, came a landmark Supreme Court judgement upholding the rights of divorced Muslim women, ordering a steady sum of maintenance not only as responsibility but humanity.

Coming at a juncture when India was in a churn, the judgement caused a high-pitched furore around the already vexed conversations around secularism, Muslim personal law, uniform civil code and gender justice. So intense was the pushback from various stakeholders that it pitchforked the then government into an unwise knee-jerk reaction, whose fallout contributed in changing the political map of the country.
Haq is ‘inspired by’ the Shah Bano case, but that standard use of ‘inspiration’ isn’t used, thankfully, to inject melodrama into the film: there’s anyway enough unwanted drama in the life of a happily married woman being forced to live with her husband’s ‘second’ wife, and the subsequent ignominy of triple-talaaq.
The performances are all solid. As Shazia Bano, the woman hurt and angered by her husband’s betrayal, yet someone who holds on to the fraying shreds of her dignity, Yami Gautam Dhar is excellent, keeping flashy histrionics in check even in the mandatory climactic monologue. So is Emraan Hashmi as the entitled ‘shauhar’ hiding his patriarchal prancing behind the fig-leaf of faith, lashing out at his wife for having the temerity of asking for a meagre maintenance sum. Danish Hussain as Shazia’s supportive father, Sheeba Chaddha as her resilient lawyer, and Aseem Hattangaddy as the latter’s second-in-command all add to the flavour. Newcomer Vartika Singh, as the other woman, fits well into the tone of the film, trying to find her place in a home that is someone else’s, as well as trying to keep the peace: again, she could have been portrayed as a shrew, but the filmmakers resist the temptation.

The lack of shrillness is the hallmark of the film, and works well to keep us engaged. My only grouse is how it steers clear from exploring the larger implications of Shah Bano’s case: the outside world and its conflicts is kept strictly out of the frame, with eyes only on Shazia and her fight. But then that would have been a different film, and perhaps those inclusions would have made it difficult to get past ultra-righteous, overtly-censorious eyes in these times, though in the post-credit scene, the film does pat the current regime on its back as having banned the contentious practice of triple-talaaq.

‘Haq’ does what it sets out to do with clear-eyed empathy, giving us an ordinary woman who found extraordinary strength and resilience to fight for her cause, and created, without ever quite realising it, history.



The bitter legal battle that came to be known as the Shah Bano case was one that had far reaching consequences.

In a conservative society, accepted norms allow men to get away unscathed on abdicating their responsibility towards their family, while women bear the whole brunt of scorn when a marriage falls apart.

Since it became a case of secular versus religious laws, it was even more difficult for a divorced wife to get justice.

 
In Haq, directed by Suparn S Varma from a script by Reshu Nath, the story behind the Mohd Ahmed Khan vs Shah Bano Begum of 1985 has been fictionalised, names and ages changed, but the core remains -- one woman's fight for her right.

Every religion is somehow skewed against women, as they stress on obedience and subservience as virtues.

This prevents most ordinary women from seeking help outside the home. So despite constitutions of most countries being fair, there is a lag in execution of laws in favour of women.

When, like in India, the rights of minorities are stirred in, the problems intensify.

Shazia Bano (Yami Gautam Dhar) had a seemingly happy marriage with Abbas Khan (Emraan Hashmi) even though, after a few years and two children, he neglects her for his thriving legal practice.

Then suddenly, Abbas leaves to go on a property matter to Pakistan, leaving behind a pregnant Shazia.

When he returns, there is a second wife, Saira (Vartika Singh) in tow.

The woman, meek at first, claims she was Abbas' first love, and Shazia is the interloper.

Gradually, Shazia is shut out, till the humiliation gets too much to bear and she leaves with the three kids for her parents' home. It is rare, but her father (Danish Husain) stands by her, even against the coterie of Muslim leaders.

Abbas promises a meagre sum as child support, which he stops after some time. Shazia is then forced to approach the court, where she is rudely told to go to the Muslim Law Board.

The general opinion is that she made a personal matter public, and brought shame on the family.

All attempts to mediate fail, and Abbas divorces her by saying 'talaq' thrice and putting the meher amount on the table.

According to him, his responsibility towards her ends there, and she is not entitled to maintenance.

Lawyer Bela Jain (Sheeba Chaddha), along with her reluctant associate, Faraz (Aseem Hattangady) take up Shazia's case, while an arrogant Abbas represents himself.
The Supreme Court rules in Shazia's favour.

The actual controversy had raged when the then Rajiv Gandhi government, under pressure from Muslim leaders, diluted the decision, and caused a storm with accusations of 'appeasement' of minorities and demand for a uniform civil code.

It took many more years and court cases to bring some semblance of justice to Muslim women, affected by triple talaq.

The film does not go there, however, giving Shazia her moment of victory.

Suparn Varma and Reshu Nath have used some powerful dialogue -- like Shazia asking why as a citizen of India, she cannot have the same rights as others -- but avoid melodrama.

Shazia says in an interview to a journalist that she took to wearing black so that the dirt thrown as her would not show but there are no scenes of her being attacked.

Abbas, like the husband in the actual case, is needlessly callous, simply because such behaviour is not adequately condemned by society.

Yami Gautam has played the challenging role with ease, never letting the dignity of Shazia slip, even when she is at the end of her tether.

Emraan Hashmi has the more difficult role and he makes Abbas believable. The man makes use of his privilege and twists personal laws to crush a woman, but is no worse than so many men across social, economic or religious lines, who are just as nasty. Still, he does not play Abbas as overly villainish.

Made at a time when an insidious agenda can be read into it, Haq is an important film that deals with a contentious subject with maturity.

Nearly 40 years later, women are still going through trauma, in spite of adequate laws.

Hopefully, Haq will ignite some discussions as to how social attitudes might be changed, when women are progressing in so many ways -- in the week the film releases, the Indian women's cricket team wins the World Cup. It should be seen as a call for gender justice and not minority bashing.

Until two prolonged and pointed courtroom soliloquies are staged in quick succession late in the film – one is delivered by Emraan Hashmi, the other by Yami Gautam Dhar, with both actors acquitting themselves to perfection – Haq opts for sustained restraint even in its most dramatic passages. It is this temperance that defines the film.

It is rare for a Bollywood film these days not to froth at the mouth when talking about India's principal minority community and summarily stereotyping it. Directed by Suparn S. Varma and written by Reshu Nath, Haq tackles an emotive and sensitive topic. It could easily have gone overboard. That it does not is the film's greatest strength.

A fictionalised account of the Shah Bano case of the 1980s, Haq focuses on one woman's fight for her right in an environment in which the odds are heavily stacked against her. It does not, however, use the character's quiet belligerence merely as a stick to beat a religious group with. The film stays firmly centred on the question of gender assertion in the face of male entitlement.
One thought that might flash across some minds is: in a land where child marriages, female foeticide/infanticide and the lack of women's safety in public and private spaces continue to be daunting problems, why is a lawsuit from so many decades ago still of interest to Mumbai film producers? Is it because it fits into a narrative that enjoys currency today?
As Haq unfolds, the lingering misgivings over the film's larger motive are dispelled to a great extent because the script refrains from playing to the gallery in the way that movies of this nature usually tend to do. It examines legal, religious and gender issues through the prism of a protracted trial, and the eyes of one woman at the centre of it, without gloating over the well-documented verdict and its aftermath.

The plot of Haq hinges on a landmark legal battle that, four decades ago, pitchforked the practice of triple talaq and its repercussions on women into national limelight – but it is mindful of modulating the dramatisation in a manner that keeps sensationalism at bay.

Its blows are forceful all right but the film does not employ a sledgehammer to come down on its targets. Adapted from journalist Jigna Vora's book Bano: Bharat Ki Beti, the screenplay takes the liberty to incorporate fictional elements but does not overplay its hand for the most part.

The real-life woman around whom the story revolves was well past middle age when her divorce and subsequent travails turned into a nationwide talking point, the pugnacious protagonist of Haq is clearly not.

In the opening sequences of the film, Shazia Bano (Yami Gautam Dhar) sports a weatherbeaten look as she walks into a studio for an interview in 1985, but when the trial reaches its climax around the same point in her life in the film's final act, she looks much younger. Such inconsistencies notwithstanding, there isn't much that Haq muffs up.

Shazia's husband Abbas Khan (Hashmi), like the actual man he is modelled on, is a busy advocate. He is projected as somebody who knows the Constitution and the CrPC inside out but is anything but a devout Muslim steeped in the customs enjoined on followers of Islam.

Shazia, in contrast, is a barely educated daughter of a small-town maulvi (Danish Hussain) who is well-versed in the precepts of the Quran. When a personal crisis hits her out of the blue – her loving husband returns from a trip with a second wife, Saira (debutante Vartika Singh), in tow – it takes her a while to gather herself and figure a way out of the mess.

One thing leads to another and Shazia and her father, who stands by her physically and in spirit as the trial wends its way from a sessions court in Aligarh to the Allahabad high court and finally to the Supreme Court.

Shazia is represented in court by advocate Bela Jain (Sheeba Chaddha, hamstrung by an underwritten role) and her assistant Faraz Ansari (Aseem Hattangady), who is occasionally assailed by doubts over putting provisions of Muslim Personal Law on a collision course with Section 125 of the Code of Criminal Procedure.

Haq stays rooted in the real world. Through its middle portions, it trains the spotlight primarily on the tussle between Abbas Khan's two wives for his attention, the steady aggravation of Shazia's plight and the actions and jibes of a mean-spirited, meddlesome neighbour who, in one early sequence, exhorts Abbas to rein in his feisty wife only to be firmly rebuffed.

Abbas is no monster. He is a law-abiding individual who, with the aim of depriving Shazia of alimony and child support, isn't averse to falling back on the powers that the Shariat purportedly bestows on men. That act of convenience pits him against Article 44 of the Constitution of India. The clash of two codes – one rooted in faith, the other in the domain of jurisprudence – constitutes the core of the film.

As a legal drama, Haq suffers no missteps that it cannot make amends for. As an exploration of a woman seeking what she deserves as the abandoned wife of a well-to-do man, it builds its case in favour of the fighter bit by bit, extracting drama not from grand confrontations but small divergences and frictions, turning a chhoti ladaai (small domestic skirmish) into a badi jung (big national war).

The script gives the two leads all the room that they need. Yami Gautam Dhar and Emraan Hashmi make the most of it with some effort to spare. Newcomer Vartika Singh, too, has her moments. But Sheeba Chaddha and Danish Husain are saddled with roles that could have done with more elucidation.

Haq manages to make its point without bursting a vein.

Audacious, blistering, seething and sensitive. Haq is all of that and so much more. It raises some pertinent questions on identity – cultural, religious, moral, individual. What should a Muslim woman do when her husband decides to divorce her on a whim? Should she let the Muslim Shariat law dictate her life hereon? Is there a difference between a Muslim woman and an Indian Muslim woman in a court of law? Does fighting for her rights as a woman, a mother and an ex-wife make her selfish? What about shame?

Does standing up for oneself mean inflicting embarrassment on her family? Is alimony all that there is a woman can claim after her husband leaves her? And what about respect? Director Suparn S Varma takes the courageous stories and struggles of Shah Bano, Bai Tahira and Fuzlunbi, and creates Haq like a reduced, rich sauce. The film opens in Uttar Pradesh’s Sankhni where we’re introduced to Shazia Bano. She gets married to a lawyer, Abbas Khan. Life looks like a bed of roses for these love birds. Abbas appears to be an epitome of the perfect husband.
He loves her, defends her against nosey, curmudgeon neighbours. But there’s a catch. We learn that Abbas isn’t someone who believes in fixing household items. If a cooker starts malfunctioning, he immediately buys another. So, their kitchen has three of these vessels now. All goes well until Shazia becomes pregnant for the third time. She realises that Abbas isn’t the same partner, who used to dote on her. He suddenly appears distant and lets work take up almost all of his time.

One day, he takes a work trip to Murree in Pakistan. And that changes Shazia’s life forever. When he returns home after three months, he brings Saira as his new wife. As Shazia is taken aback, demanding an answer from Abbas, her mother-in-law defends his act, stating, ‘Isne nikaah karke sabaab ka kaam kiya.’ Needless to say, Abbas treats his wives and cookers in the same way. His growing closeness to Saira naturally ticks Shazia off. And one day, she decides to take her kids and go back to her parents’ home in Sankhni.
What starts off as a fight to demand Rs 400 from Abbas as child maintenance soon transforms into a full-fledged legal battle that leads the Supreme Court of India to declare that there’s no conflict between the provisions of section 125 of the Code of Criminal Procedure and those of the Muslim Personal Law in a landmark judgement. In this grueling process, Shazia meets lawyers Bela Jain and Faraz Ansari who become her pillars of support. But at the heart of Haq also lies a story of a feminist ‘maulvi’ father who leaves no stone unturned to see his emotionally battered daughter win.

Haq discusses so many issues, so many conflicts, many of which continue to plague Muslim women even today. In a key scene in the first half, what steals the show among many other moments, is a verbal showdown between Shazia and Abbas. She cries, demands, almost pleads – but never at the cost of compromising on her self-respect – for him to recognise their marriage, her rights and the rules laid down by their religion in the holy Quran. It’s gut-wrenching, hard-hitting and powerful. ‘Quran dekhne mein, padhne mein aur samajhne mein fark hota hai,’ she later announces. In a way, Haq also attempts to break down the many myths surrounding talaq-e-biddat, mahr and waqf.
Their ethical friction anchors the film. And despite some heavy-weight sequences, there are no theatrics here as character arcs are driven by conscience rather than histrionics. The narrative is laced with minimal background score and sharp dialogues that question power and norms but that never feels like sloganeering. The courtroom that acts as a major backdrop is a product of realistic world-building. A big part of this believability also comes from the cinematography and the costume teams.

There are dense legal arguments, emotional pleas are made and the courtroom becomes the stage for a nation’s conscience and a moral debate. The narrative has an enviable depth and sensitivity that gets highlighted, especially during the courtroom exchanges. You almost feel like a silent spectator in this uncomfortable grey zone where faith, law and identity collide. While this intellectual sincerity gives this 2-hour 16-minute film a lot of emotional weight, it also demands patience sometimes, especially in the second half where the momentum slows down a bit. But the good news is that nuance is given a preference over noise.

This remarkable screenplay is further elevated by superlative performances by Yami Gautam Dhar and Emraan Hashmi. As Shazia, Yami delivers her career-best performance. She’s an interesting paradox – strong and fragile, fearless and delicate, hopeful and anguished. She’s no superwoman. But she delivers her arguments with sharp focus, making her long legal monologues feel personal rather than academic. She’s quietly fiery, simmering with tension and chaos. But even then, the restraint she brings to the table is noteworthy.

As for Emraan, who plays the unlikeable Abbas, he leans into calm conviction. He’s measured and sincere in his portrayal of a man with an ego that’s hard to crack and a fatigue that hasn’t completely weighed him down despite fighting battles with unclean outcomes. What’s also interesting is that he doesn’t shy away from stepping back just enough for Yami to take centrestage without ever diminishing his own presence. And together, Emraan and Yami are electrifying and a delight to watch. This A-team is ably supported by Sheeba Chadha, Vartika Singh and Aseem Hattangady.

Watch Haq for its storytelling, nuance and performances. Narrative depth is one of its strongest suits and it refuses to oversimplify or collapse a complex debate into a convenient hero-villain binary. Here, all parties are treated with a lot of humaneness, including the other woman in Shazia and Abbas’ dynamic. Haq is quietly provocative and insists on conversations, and that’s what makes it a winner. With an epiphany-like impact, the film ends with Shazia whispering ‘iqra’, thus quietly imparting a lesson to the fanatic world to read and learn before picking up a battle.

This film is a MUST-WATCH – bold, power-packed, gripping, emotionally charged… A riveting drama that hits hard... #EmraanHashmi, #YamiGautamDhar, and director #SuparnVarma deliver career-best works! #HaqReview

#Haq isn't just a courtroom drama – it's about conscience, courage, and confronting uncomfortable truths head-on... It's a story that needs to be told.

#Haq grips you from the very first frame, unfolding a narrative that blends truth, justice, and human emotion with remarkable precision.

Director #SuparnVarma delivers his most assured work yet – sharp writing [by #ReshuNath], compelling character arcs, and a narrative that refuses to take the easy path or shortcuts.

The courtroom sequences are the high points of the film – fierce, fiery, and charged with high-voltage drama... The verbal duels between #Emraan and #Yami are electric – with dialogues that echo like thunder and arguments that cut deep.

The film never lets the tension drop – every exchange lands, every objection pierces, every moment counts.

#EmraanHashmi delivers a knockout performance – intense, layered, and commanding... A role tailor-made for him, and he owns it with remarkable control and power.

#YamiGautamDhar is sensational – fierce yet vulnerable, confident yet humane... Her presence elevates every scene she is in, and the penultimate courtroom sequence is simply extraordinary.

Both #Emraan and #Yami deserve major accolades and awards for their powerhouse portrayals.

Debutante #VartikaSingh is a revelation – confident and impressive in every frame. 

The supporting cast – #SheebaChadha, #DanishHussain, #AseemHattangady, #AparnaGhoshal, #PilooVidyarthi, and #RahulMittra – is exceptional, adding tremendous weight and authenticity.

Final word? #Haq is sure to spark conversations and ignite debates... A hard-hitting, thought-provoking film that blends substance with searing drama... A film that stays with you long after the end credits roll... DON'T MISS IT.

The writing and dialogues by Reshu Nath are sharp, balanced, and emotionally stirring. What really stands out is the attention to detail, from the 70s-80s era aesthetics to the chunri-printed wedding wrappers and metallic suitcases, everything feels authentic.

The songs may not top playlists, but they elevate the emotions on screen. Some scenes hit hard enough to leave your throat heavy. The first half, especially, is a winner; director Suparn Varma keeps the tension alive and ensures you don’t take your eyes off the screen.
Yami Gautam is the soul of HAQ. She delivers a powerful, layered performance as Shazia Bano, her eyes convey heartbreak, defiance, and determination all at once. From her Arabic diction to her subtle body language, Yami brings authenticity and depth to the role.

Emraan Hashmi as Abbas Khan is brilliantly effective. His controlled aggression and vulnerability make him a fascinating watch. Despite their hostile dynamic, Yami and Emraan’s chemistry is electric, so much so that you can’t help but wish to see them together in a mature love story next.
Sheeba Chadha shines bright as Bela Jain, Shazia’s fierce lawyer, making every dialogue land with quiet power. Vartika Singh as Saira is decent, and Aseem Hattangady as Shazia’s father, Faraz Sayeed, add solid support to the narrative.

Final verdict
'Jab koi aapki aawaaz na sune, to dard hota hai,' (When one’s voice is silenced, it hurts). This one line from Yami Gautam’s character sums up the spirit of HAQ.

At its heart, the film is a stirring reminder of what women continue to fight for: dignity, equality, and a rightful place in the eyes of both law and society. HAQ is about a woman who refuses to bow down to patriarchy or fragile male ego.

It isn’t just a courtroom drama; it’s an emotional ride that celebrates the resilience and undying spirit of a woman. Regardless of the faith, caste or creed, a woman is entitled to basic rights and need not be silenced. Man or woman, go watch this film! 'Cause movies, you see, are gender neutral.


No more scars! And why do I say that? It is because of Abbas Khan’s (Emraan Hashmi) treatment towards Shazia Bano (Yami Gautam). He tortures him in a restrained kind of way. Directed by Suparn Verma, Haq is a fiercely gripping story of a mother’s fight against the system and society. This provocative drama is inspired from the Shah Bano case. But the film is not just a courtroom narrative, it is much more than that. It’s a human story which is hugely  relevant in today’s time.

When Shazia Bano ( Yami Gautam) gets married to Abbas Khan’s (Emraan Hashmi) and steps into the kitchen for the first time, she realises that there are three pressure cookers kept them. When she questions the domestic help about that, she says that Abbas doesn’t believe in mending old things. So, anything that becomes old is quickly replaced in Abbas Khan’s house. Metaphorically, in real life too, when Shazia delivered her third child she was quickly replaced by another woman. The relationship became strained even before that and he started distancing himself from her. But Shazia Bano’s ( Yami Gautam) husband remarrying was the last straw.
In fact, the whole relationship between Abbas Khan’s ( Emraan Hashmi) and Shazia Bano (Yami Gautam) was based on a lie. Shazia Bano was like a rebound in Abbas Khan’s life. He had a childhood affair with his paternal aunt’s daughter which didn’t materialise as she was married off to another man. And apparently the man that Abbas’s second wife was married off to used to beat her up regularly. When his aunt dies, Abbas and his mother promised that they will take care of her. And hence she was brought into the house as his second wife.
Produced by Junglee Pictures in association with Insomnia Films and Baweja Studios,  Haq is inspired by a landmark Supreme Court judgment. . The debate in the film may have begun in the 1980s, but it is hugely relevant even today. A relentless conflict between personal belief and secular law, the film is a nail-biting takedown of patriarchy. The best thing is director Suparn S Varma had handled this topic with a lot of maturity.

Why I say it is relevant in today’s world is because Abbas Khan’s (Emraan Hashmi) is shown to be a gentleman. He will not abuse a woman or will beat up his wife. But he will scar you emotionally and kill you mentally for life. He is educated, sophisticated and well mannered. Abbas is a kind of gentleman from the outside, but manipulative, cunning and dominating from within. He will not raise his voice, but he will do things the way he wants to do and is insensitive towards other’s feelings. The film shows the clash of egos and here I must say it is a tough battle in the courtroom between Abbas Khan’s (Emraan Hashmi) and Shazia Bano (Yami Gautam) because Khan is a well-known lawyer and Bano knows the Quran like the back of her hand.
Their collision in the courtroom becomes a national debate on identity, love, and gender ideology. Shazia Bano (Yami Gautam) fights like a tigress for her right, her ‘Haq’ for maintenance from her husband. She fought for herself, her children and most importantly her dignity. She stood up with her head held high against a system built to protect men and she won. Her battle and her win were a historic event.

In 1985, the Supreme Court ruled in Shah Bano’s favour granting her lifelong maintenance under Section 125 of the CrPC – a secular law that applies to all citizens. It was indeed a landmark moment for Muslim women’s right and renewed the debate for Uniform Civil Code.

The movie shines in all aspects; whether it is the mature storytelling, the cinematography, or the performances of each and every actor, it is absolutely perfect with the right dose of sensibility. On the whole, Haq is definitely worth every bit of your time!


HAQ | Official Teaser | Yami Gautam Dhar, Emraan Hashmi | Suparn S Varma | In Cinemas 7th Nov

HAQ | Official Trailer | Yami Gautam Dhar, Emraan Hashmi | Suparn S Varma | In Cinemas 7th Nov

Emraan Hashmi is a popular actor recognized for his work in Bollywood. He started his career as an assistant director and made his acting debut with the 2003 crime-thriller Footpath. He rose to nationwide fame playing the antagonist in the 2004 erotic-thriller Murder and went on to appear as powerful grey characters in films like Gangster, Once Upon a Time in Mumbaai, Aashiq Banaya Apne, Murder 2 and Awarapan. He also played the role of Indian cricketer and former national team captain Mohammad Azharuddin in the biopic Azhar. Hashmi has won several accolades for his versatile performances.

Emraan Hashmi

Yami Gautam is an actress and model who primarily appears in Hindi and South Indian cinema. A prominent celebrity endorser of multiple brands, Yami made her Bollywood debut with the 2012 film Vicky Donor. She went on to appear in films like Sanam Re, Badlapur and Kaabil. She has won several awards and nominations for her performances in films as well as on TV including the IIFA.

Yami Gautam

Sheeba Chaddha is a critically acclaimed actress who has appeared in films like Raees, Dil Se.., Parzania, Delhi 6 and Talaash. She has also appeared on mainstream soap operas and web series.

Haq (2025)(2025)