Name: Main Vaapas Aaunga
Genre: Romance, Drama, Period
Released: 2026-06-12
Duration: 2 h 46 min
Rating: 6.7
Cast: Diljit Dosanjh, Vedang Raina, Sharvari Wagh, Naseeruddin Shah, A. R. Rahman

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An elderly man reflects on a love story that has stayed with him for decades, rooted in memories from the time of India’s Partition. As the narrative unfolds across generations, the past and present intertwine through a journey of love, separation, and longing.

Main Vaapas Aaunga

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Imtiaz Ali and Nayanika Mahtani's story is touching and different from the rest of the partition dramas. Imtiaz Ali and Nayanika Mahtani's screenplay juggles between two tracks but is not confusing and ensures that the viewers remain glued to the goings-on. However, the writing suffers in some places. Imtiaz Ali and Nayanika Mahtani's dialogues are realistic and thought-provoking. A few one-liners are funny and also bit dark, but it will be lapped up. However, the dialogues of Naseeruddin Shah are difficult to comprehend and ideally, the film should release with subtitles compulsorily.

Imtiaz Ali's direction is decent. He’s known for executing his film in a certain style and MAIN VAAPAS AAUNGA is no different. Instead of taking the usual route, he builds upon the film with a unique intro scene. It instantly sets the mood. Moreover, the opening credits also make viewers curious; the focus is earlier only on Afsana, but soon, more female characters are shown, making one curious about them. Things get better once Nirvair starts speaking to Ishair about his past. The film gets better post-interval as viewers learn about Ishair’s hardships. The partition violence sequence is chilling and something never seen before in any film in this space. However, Imtiaz reserves the best for the last 20 minutes. The final sequence is quite touching and also nail-biting.

On the flipside, the first half is a bit slow. Also, Ishar and Afsana’s love story begins suddenly for the viewers; it takes a while to understand that both are already in love with each other. A few scenes are random, especially the scenes involving the Martians. The second half begins with Nirvair lecturing about a solution to burning farm stubble. It has no relevance to the story and should have been done away with. Instead, the focus should have been more on Ishar's life post-partition and his fractured relationship with his family. The makers touch upon an important issue of inter-generational trauma, but it is not properly established. Lastly, the music is not upto the mark.
Main Vaapas Aaunga Movie Review Performances:
This is among Naseeruddin Shah’s most accomplished works in his illustrious career. The actor totally gets into the skin of his character and delivers a performance that is deeply heartfelt. Audiences will be left teary-eyed thanks to his act. Diljit Dosanjh is natural as always and brings the required warmth and charm to the role. Sharvari looks stunning and, performance-wise, she is terrific. She has limited screen time, but it does not matter because of her strong performance. Vedang Raina dominates several key scenes and proves his worth. Banita Sandhu (Kaveri) lends able support. Rajat Kapoor (Iqbal Grewal) and Anjana Sukhani (Meher) perform very well. Manish Chaudhari (Muzaffar) is too good, as expected. Dolly Ahluwalia (Ishar’s grandmother) does not have much to do initially, but is very memorable in a crucial scene in the second half. Danish Pandor (Afzal) is memorable and will be well-received in his entry scene thanks to his DHURANDHAR connection. Satnam Singh (Pali) and Abhay Rana (young Pali) are fair. Kumud Mishra (BSF Chief Keshav Parmar), Rasika Agashe (Protima; Partition expert), Debasree Ghosh (Madhu Malti; nurse), Kashmira Irani (Kishwar; Lahore-based), Sahil Mehta (Adil; Lahore-based) and others deliver fine performances.

Main Vaapas Aaunga movie music and other technical aspects:
A R Rahman's music is functional, but ideally, in a film made by Imtiaz Ali, one expects a better music score. 'Maskara' is peppy, while 'Dheere Dheere', 'Tere Paas Main' and 'Dariya Hi Dariya' are okay. 'Ishq Mastana' looks out of place. 'Kya Kamaal Hai', played in the end credits, is quite touching. A R Rahman's background score is much better.

Sylvester Fonseca's cinematography is appropriate. Paramjeet Singh Pamma's action is not too gory and yet communicates the horrors of partition. Sheetal Iqbal Sharma's costumes and Suman Roy Mahapatra's production design are reminiscent of the bygone era. Aarti Bajaj's editing is a bit incoherent in some places, but overall, it works.

Main Vaapas Aaunga Movie Review Conclusion:
On the whole, MAIN VAAPAS AAUNGA differs from other partition films and features strong performances and an emotional climax. At the box office, however, the film is likely to appeal mainly to a niche, urban multiplex audience due to its theme, treatment and pacing. Its commercial prospects will depend heavily on strong word-of-mouth from its target audience.

As India and Pakistan inch closer to Partition, Keenu (Vedang Raina as a young Ishar Singh), repeatedly promises Afsana, also known as Jiya (Sharvari), that he will never leave. And when he is forced to, he vows, “Main vaapas aaunga” (I will come back). He keeps his word, even if only in his memories. Keenu moves away but never truly leaves, his love frozen in time in Pakistan’s Sargodha. As his dementia progresses, Nirvair realises that his grandfather’s unfinished promise won’t let him leave the world until he fulfils it. Thus begins a saga of Nirvair tracing Keenu’s life back to give him closure, in turn learning about what it means to be committed.
Love and separation can evoke heartache like nothing else. Add to this the anguish of leaving one’s home, life, and identity behind, and the poignancy only deepens. Director Imtiaz Ali weaves all of this into a nonlinear saga set across two distinct timelines. The film gets its emotional heft from themes beyond love and longing. It explores how displacement can create emotional distance and bitterness, and how that wound can cascade into intergenerational trauma. This is an ache no one can truly share, as Ishar Singh’s younger brother, Pali (Vinod Nagpal), emphatically points out: the one who bears such suffering will take it to the grave. The gut-wrenching moment becomes a reminder of the lakhs of people on both sides who may have passed on with no closure. The film also uses striking metaphors, including the idea that bigots and Adolf Hitler are Martians, suggesting that such cruelty is almost inhuman.
The romantic drama’s visual language is a highlight, with director of photography Sylvester Fonseca using golden, sunlit frames to lend Keenu and Jiya’s early romance a dreamlike quality. In sharp contrast, the grim scenes of the Partition riots are harrowing, especially one sequence that depicts women protecting their honour. A R Rahman’s music adds an evocative layer to the narrative. Punjabi folk meets jazz in Ishq Mastana, Kya Kamaal Hai has a raw energy, while Maskara brings in a breezy, playful charm.
The first half feels plodding, and at two hours and forty-six minutes, the runtime seems overstretched. The slow pace of this love story may not work for everyone, but those who enjoy Ali’s sweeping, cinematic storytelling will find enough to immerse themselves in. While the frequent transitions between 1947 and the present day can occasionally be challenging to keep track of. While Keenu and Jiya’s love track is beautifully portrayed, Nirvair’s equation with Kaveri (Banita Sandhu) does not create the same impact. A sequence about Nirvair discussing crop burning and working on a machine that can turn husk into fertiliser feels out of place. His attempts at stand-up comedy while talking about Partition also seem tonally odd.
The film belongs to Naseeruddin Shah, who proves why he is celebrated as one of the finest actors in Indian cinema. He is pitch-perfect in portraying Ishar’s delirium and sadness, and delivers a powerful performance even when confined to a bed. Diljit Dosanjh matches his prowess as a commitment-phobic and unfocused young man determined to help his grandfather find closure and, with it, eternal peace. Vedang Raina is brilliant as the young Keenu, capturing innocent romance, helplessness, and later embittered self with conviction. Sharvari looks ethereal and charms as Afsana, and essays someone dealing with the pangs of love and fear with panache. Among the supporting cast, Rajat Kapoor is effective as Ishar’s resentful son Iqbal Grewal, while Anjana Sukhani delivers a strong turn as his outspoken daughter-in-law, Meher. Manish Chaudhri and Danish Pandor deserve mention in their brief but impactful roles.
Imtiaz Ali’s signature poetic and deeply emotional storytelling, along with the powerful performances, make this a must-watch. The film’s bittersweet ache stays with you long after the credits roll.

Two love stories spanning two eras is a running theme in Imtiaz Ali’s filmography. His latest, ‘Main Vaapas Aaunga’, a pre-Partition for ever-and-ever romance, juxtaposed against a commitment-phobic present-day couple—in which the girl and guy are doing the back-and-forth chancy-dancy thing, is also in the same zone. It also re-unites him with Diljit Dosanjh, the lead actor of their previous collaboration, Chamkila.

Co-written by Ali and Nayanika Mahtani, and produced by Applause Entertainment, the film opens with the Chandigarh-based 95-year old Ishar Singh Grewal (Naseeruddin Shah) desperate to get to Sargodha. His faculties are slipping, and he has no realisation that the town lies across the border, created in 1947 to carve India and Pakistan out of the subcontinent, leading to wholesale carnage and bloodshed.
His incoherent mumblings can only be deciphered by grandson Nirvair (Diljit Dosanjh), who has flown in from the UK, leaving behind a job, a girlfriend (Banita Sandhu) and tangled emotions of his own. Dadaji has unfinished business, and as he clings desperately on despite the debilitating stroke, he becomes the device through which the film harks back to those terrible times which have been buried in the memories of those who lived through them.

That Ali is able to make this film in 2026, with spiralling communal polarisation having created so many fissures within our own country, is astounding, and a straight up cause for celebration. Main Vaapas Aunga is very clear about where its politics lies, pointing towards the unresolved trauma and unhealed wounds transmitted through generations, as the root cause of our present troubles. It also includes a clear-eyed declaration that those troubles cannot be laid at the door of one community or one religion: everyone — the Muslim marauders who raped and pillaged, the Sikhs who retaliated, the blood-lust leading to beheadings — was responsible, everyone was complicit, and everyone’s hands were equally bloody.

To dig up those skeletons, and to tell those stories, so that we can look back with lessening anger, can be healing. In that sense, Main Vaapas Aaunga is a valuable addition to the films that do the difficult work of acting as memorial and redemption: Partition is still an open wound, hidden under scabs.

But while its intentions are noble, and its heart is very much in the right place, the film meanders, especially in the first half. It does make up for it in the post-interval section, when it gets into full gear, but that makes us wish, all the more, that all of it was tighter, especially with its rousing climactic coda about forgetting as way to forgiveness, and that being a pacifist is the only way forward.

The film works best when it nudges us into accepting that those feelings are important, and those moments come flooding well into the second half, in which Main Vaapas Aaunga finds its footing, as it goes back and forth, coasting on nostalgia for a softer, gentler era in which a lost chaand-baali could become an excuse for a clandestine meeting between lovers from different religions.

Where it fails to leave a mark is the creation of that very same long-lost love : there’s not enough fizz between the fresh-faced Vedang Raina and rosy-cheeked Sharvari, the former playing the college-going Ishwar and the latter his beloved Jiya, whom he has to leave behind when the violence erupts.

These portions, with their studied flirtation between the young uns, the hardening of lines destroying the harmony between the Muslims and the Sikhs who had lived in harmony, the horrific violence wrecked on the women left behind, are all familiar: we’ve seen similar depictions.

Where the film stands out is in the clear acknowledgement of guilt of those that left, the lingering curses of those left behind, the burden of which Ishwar has carried all these years, which has perhaps corroded his future relationships. There’s an interesting thread hinting at the conflicted feelings of Ishwar’s older son (Rajat Kapoor), which he brings up when he sees the former stricken by stroke; the film leaves this thread unexplored. You realise that a character was played by Sanjay Suri, almost unrecognisable, only once you’ve blinked and he’s gone.

The plot is stuffed with everything the film wants to touch upon, including a pointed scene involving farmers and their constraints (a reference to Dosanjh’s support for the farmers?): that scene comes and goes, without having anything to do with the film. Dosanjh being named Nirvair is a lovely meta-touch, speaking to one that doesn’t hate, only loves: a degree of equal elegance is missing in the way his character is turned into a bald explainer on what his grandfather is going through, as well as the Partition itself. A walk-on part, played by Vinod Nagpal as Ishwar’s younger brother who saw more than any human can bear, has more weight than all the words we hear Nirvair translate for the benefit of his immediate family.Yes, generational trauma can be addressed through comedy, so Nirvair starts doing sets, trying to make sense of it all, and only some of it is effective. It takes his solo, which sings of refugees the world over, who yearn for a lost home, to make you tear up.

But ‘Main Vaapas Aaunga’, equal parts uneven and moving, isn’t the very likeable Dosanjh’s film. It is Naseeruddin Shah’s superbly-judged performance, high-pitched yet never quite tipping into grating melodrama, which keeps this film going, literally and metaphorically. His end-of-life Ishwar captures the arc of an old man whose suppressed agony can only be released through tormented yells which reverberate through his tony household, as well as those of us who still have the patience to listen.

For me, the film’s weaker portions are papered over by the ones that hold us, re-uniting us with a filmmaker unafraid of drama, telling us a story about memory and loss, and the power of home-coming.

Exactly a week ago, Naseeruddin Shah disappeared into the skin of JRD Tata, the Tata Group visionary, in Made In India: The Titan Story by Robbie Grewal. In Imtiaz Ali's Main Vaapas Aaunga, the veteran actor breathes life into a dying man named Ishar Grewal, whose life was marred by the horrors of the 1947 Partition.

Naseeruddin Shah is an actor par excellence and can easily be taken for granted because you feel he has done it all. He turns 76 in a few days and has been acting for 51 years. And yet, when you watch Main Vaapas Aaunga, you will still be gobsmacked.

In his follow-up to Amar Singh Chamkila, also set in Punjab, Imtiaz Ali makes a splendid return to the big screen with his most realised film to date -- one that dares you to look for old-school love in an era dominated by situationships. Diljit Dosanjh reunites with the filmmaker as Nirvair, a lost London-based youth who flies to India to see his ailing grandfather Ishar one last time.
The bedridden old man, suffering from Alzheimer's and dementia, longs for his first love even 78 years later and unintentionally knocks some sense (as happened in Tamasha) into Nirvair. Commitment-phobic and uncertain about his career -- a daytime engineer who moonlights as a comic -- Nirvair is played spot on by Diljit Dosanjh, the real global Indian. He struggles to understand why his grandfather refuses to die. "'Martians' walked the earth during World War II and they still live among us," says Dadaji, and Nirvair tries to make sense of his gibberish in an attempt to let the old man die in peace.

Main Vaapas Aaunga flits between present-day Delhi and Sargodha in what was then undivided Punjab, days before Partition. Back then, Ishar was Keenu, played capably by Vedang Raina -- a name that nods to Sargodha's status as the citrus capital of Pakistan. Young and carefree, Ishar falls for Afsana Shaikh (Jiya), essayed by a formidable Sharvari. At the time, the Radcliffe Line had yet to tear the land apart; Punjab was one, home to Hindus, Muslims, and Sikhs. Afsana reciprocates Ishar's love. The young couple, who meets chhup-chhupke in a Musalman's house garden, believe religion will not be a problem. They are unaware of the fire about to spread.

The best part of the film is not what will happen -- the title and trailer make that clear -- but the how. Bringing a love story to a time when audiences have become accustomed to celebrating hatred and othering is itself an act of rebellion, even a political gesture. Imtiaz Ali, along with Naseeruddin Shah and Diljit Dosanjh, breaks your heart to mend it again.

The surprise package in this Partition drama is Sharvari, who nails the brief as the coy yet resolute Afsana. Vedang Raina is vibrant as Keenu, a man who becomes an empty shell long before he reaches the deathbed.

There is a lot of talk about "ye meri jagah hai" and the idea of communal harmony and freedom to choose where to live. But what happens when you are uprooted from the only place you have ever known as home? What do you say to those who never lifted a finger against anyone, regardless of religion, when their loved ones are hacked to death and raped? How does a Sikh youth react when he sees his own community plunder and kill the 'other'?

A character says, "Auraton ka kya haal hua hoga -- main toh soch bhi nahin sakta." This is also Imtiaz Ali's most violent film. What he leaves to the imagination is even more numbing.

There are some stray scenes about environmental conservation, but the filmmaker does something bigger here: he moves you. It is a heavy watch, but a must-watch -- for memory, nostalgia, first love, and final goodbyes.

The film serves as a dialogue between the old generation -- those who lived through Partition and prefer to stay silent, carrying the horrors of their time to the grave -- and the young, who insist that hate finds ways to fester.

The supporting cast is strong: Rajat Kapoor, Dolly Ahluwalia (wow), Vinod Nagpal, Manish Chaudhari, Anjana Sukhani, and Dhurandhar actors Danish Pandor and Mashhoor Amrohi, all working in a world very different from the Aditya Dhar hit.

Imtiaz Ali has famously said he hates that his films "work" only years after release, with Laila Majnu being a case in point. Here's hoping he gets that real-time recognition with Main Vaapas Aaunga.

PS: At the press screening of Main Vaapas Aaunga, sniffles from grown men matched the volume of the dialogue and music score. It felt safe; there is still hope.

The movie starts with Naseeruddin Shah’s Keenu struggling with dementia, trying to reason between reality and his thoughts. While Main Vaapas Aunga lives in two timelines, you will have to sit through the first half to be rewarded by the second. The first half of the movie, which mainly focuses on setting the tone and introducing and establishing its characters, felt a little overstretched. While the audience tries to connect with the characters, their story and their pain, it is only the second half that shifts something from within.

A man on a quest, longing and trying his best to fix everything — the typical Imtiaz Ali hero. But the difference? This time the story is not relatable; it is the reality that many must have faced during the hardest historical decision of the India-Pakistan divide. What begins as a grandfather’s stubbornness to revisit his old city soon turns into a grandson’s mission to uncover.Often, we have seen films on Partition where we witness riots and families leaving their homes, but this time we see separation through the eyes of lovers. Two youngsters, planning their dream life, unaware that Partition could separate them forever, end up waiting an entire lifetime to meet again.

Like much of Imtiaz Ali’s work, Main Vaapas Aunga treats love almost as a spiritual experience. Keenu’s longing for Jiya often feels less like romance and more like devotion, echoing the emotional intensity seen in Laila Majnu.

The shots of what happened to those left behind, the shots of Keenu’s constant struggle to come back to his love and the ending will make you teary-eyed. The emotional payoff is so powerful that it almost makes you forgive the sluggish first half.

Performance

While promoted as a Vedang Raina and Sharvari starrer, the film has Diljit Dosanjh and Naseeruddin Shah as the heroes who remain the film’s strongest pillars throughout.  Diljit, as Nirvair, holds the entire story together, and it feels like he makes us live both timelines of Keenu’s life through Naseeruddin Shah’s eyes. His punches land well, while we all feel something when he speaks about the desire to be loved like Keenu and Jiya.
Vedang Raina continues to make smart choices with his films and Main Vaapas Aaunga is another solid step forward. He got the chance to work with Imtiaz Ali as the younger male lead, and he delivers for the most part. There are a few moments where his acting feels a little forced, as if he is trying too hard, but those are minor bumps in an otherwise good performance. We cried when he cried, smiled when he smiled and laughed when he laughed and that’s a good sign.

Sharvari brings a natural warmth to Jiya, making every scene she appears in linger long after it ends. While she has fewer scenes than expected in the film, she does justice to every frame.

Music

When A.R. Rahman is in form, magic happens. Main Vaapas Aaunga boasts an album packed with songs you’ll want to play on repeat long after the film ends.

The film reunites the celebrated trio of Imtiaz Ali, A.R. Rahman, and lyricist Irshad Kamil, who have previously collaborated on films such as Rockstar, Highway, and Tamasha. The first two songs, Ishq Mastana and Maskara, arrive in the first half when you are still settling into the story. While both tracks are soulful, they don’t feel fully utilised and could have been woven into the narrative more effectively. Woh Nahin and Kya Kamaal Hai, on the other hand, leave you with goosebumps.

Another beautiful detail in the film is that every time Keenu and Jiya meet, a familiar tune plays in the background. If you wonder which one, it’s Hum Tere Pyaar Mein Sara Aalam, and it perfectly captures the essence of the film and everything it tries to say.

Main Vaapas Aunga isn’t flawless, nor is it relatable because many of us haven’t lived through that era, but the beauty of the film lies in how it manages to make us feel what many went through. While the first half is like a bumpy road, the second half of the film more than makes up for it. The movie ultimately teaches that even after all the fights, the only thing one remembers during their final moments is love and nothing else.

Final Verdict

Main Vaapas Aunga sees Partition through the eyes of lovers who don’t care about politics, religion, or what others believe.  It is about what Partition stole from ordinary people. Imtiaz Ali reminds us that history may remember borders, but those who lived through it remembered the people they lost. The film makes you yearn for a love like Keenu and Jiya’s, but never for the pain of waiting a lifetime to reunite.

Imtiaz Ali’s vision serves as the film's ultimate anchor. Despite managing multiple parallel timelines, the screenplay never falters or loses momentum. Set primarily in Pakistan's Sargodha, the film meticulously reconstructs the vintage landscape, capturing the authentic body language, regional nuances, and cultural costumes of the era.

The narrative delicately balances heavy themes, the trauma of refugee families, the agony of separation, and the vulnerability of dementia, all while keeping its central love story intact. It restores your faith in old-school romance, making you realize that modern commitment phobia is merely a state of mind.

The cinematography features visually arresting frames that tell a story of their own. Furthermore, the seamless editing and clever color grading effortlessly transport the audience across different eras without relying on on-screen year stamps.
Performances

Naseeruddin Shah: He is, hands down, the hero of this film. To comment on his brilliance feels redundant; he remains an absolute institution of acting.

Diljit Dosanjh: As Nirvair, Dosanjh delivers an incredibly grounded and believable performance, acing every single scene with his signature finesse.

Vedang Raina: This film is a definitive turning point for him. Displaying an immense range, he eschews the typical 'macho man' tropes to portray a young man stripped of his innocence by circumstance. His transition through grief, rage, and subtle pain is a bravura performance.

Sharvari: Striking the perfect balance between mischief, grace, and resilient strength, she delivers an exceptional performance that leaves you craving more screen time. She is undeniably one of the finest talents in the industry today.

Rajat Kapoor and Dolly Ahluwalia infuse the narrative with immense gravitas, while Anjana Sukhani and Banita Sandhu provide solid, able support.

Final Verdict

After a long dry spell, Hindi cinema finally delivers a profound love story that will leave your heart racing and your eyes moist long after you step out of the theater. True to the Imtiaz Ali universe, the iconic tradition of a lead character eating in isolation makes a poetic return.

Based on the India-Pakistan partition, Main Vaapas Aaunga has an old-world charm, and every minute detail has been taken care of, including the costumes, furniture, and the breathtaking landscape of Sargodha in Pakistan. The place offers a blend of colonial history and agricultural landscapes and beautiful homes with spiral staircases. It is indeed a poignant film, and there are many who can relate to it, just the way I can because we have heard heart-wrenching stories from our grandparents on partition. How would you feel if your garden were in Pakistan and your living room were in India… it could confuse you, right? That’s exactly what Main Vaapas Aaunga is all about.

Main Vaapas Aaunga reunites the legendary trio of A.R. Rahman, Irshad Kamil, and Imtiaz, a creative synergy that has given Indian cinema some of its most unforgettable melodies. The best part of the film is the mind-blowing script, including the humorous dialogues by Naseeruddin Shah even when he is shown in deep mental and physical pain.
Imtiaz Ali is indeed a master craftsman, and through his films you will learn to fall in love again and again. He makes you believe that love need not be loud. Indeed, it is a steady, reassuring force that allows you to feel secure and visible. It doesn’t mean that you will lose your identity when you are in love. In fact, he makes you believe that you rise in love and not fall in love. The film shows that love is a journey that lingers in stolen glances, unfinished conversations, and memories that refuse to fade away. No matter which part of the world you are in, it still exists deep within you.Naseeruddin Shah plays the role of grandfather to Diljit Dosanjh, who is called Nirvair. It is only Nirvair (Diljit Dosanjh) who understands his grandfather’s pain and longing to go back to Sargodha in Pakistan. It is he who understands that his grandfather has travelled back to his youth, and all he desires are a few answers, closure and finally peace. He has unfinished work and some conversation with someone special. He keeps talking about some deep-old wounds and a name written in Urdu on his fist. The question is who  this girl is, and is she still waiting for him. This old man (Naseeruddin Shah) is 95 years old. In most probable cases she is no more in this world.

Main Vaapas Aaunga | Official Teaser | Imtiaz Ali, A. R. Rahman, Diljit, Vedang, Sharvari, Naseer

Main Vaapas Aaunga | Official Trailer | Imtiaz Ali, A.R. Rahman, Diljit, Vedang, Sharvari, Naseer

Main Vaapas Aaunga(2026)