Name: Metro In Dino
Genre: Drama, Romance
Released: 2025-07-04
Rating: 7.0
Cast: Aditya Roy Kapoor, Sara Ali Khan, Anupam Kher, Ali Fazal, Konkona Sen Sharma

The film follows different stories of bittersweet relationships in a contemporary world, exploring various moods of love.

Metro In Dino

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Anurag Basu's story is relatable and in sync with modern times. Anurag Basu's screenplay is effective. There are several characters and plots, and though he falters at a few places, the overall writing is smooth. Sandeep Srivastava and Samrat Chakraborty's dialogues are realistic and also dramatic.

Anurag Basu's direction is great. The film is lengthy (162 minutes) but one doesn’t feel so as there’s so much happening every minute. Hence, one is constantly gripped from start to finish. The storytelling is complemented with the use of music. Just like LIFE IN A METRO [2007], Pritam and his music team can be seen performing in the film from time to time. But this time, Anurag has treated the film like Hollywood musicals like LA LA LAND [2016] and Disney flicks. Hence, expect dialogues in places to be in the form of songs. He attempted this style in JAGGA JASOOS [2017] as well, but this time, there’s a novel touch as the setting is different. Each plot has its charm, but the one involving Monty and Kajol brings the house down. The manner in which Monty is seen conversing on the dating app, not realizing who’s chatting with him, will lead to endless laughter in cinemas. Another remarkable aspect is the homage to the previous METRO film, that too to the track of Irrfan Khan.

On the downside, the film can be confusing at times, making it essential to watch with full concentration. The beginning 10 minutes are a bit odd as Anurag Basu just throws you into their world without a conventional introduction of the characters. Hence, one might feel disconnected initially, though the film picks up well. But in the second half, the film again slips as the happenings in a few plots are over the top, especially the Monty-Kajol track. Even Parimal’s plan seems far-fetched.
METRO…IN DINO has an ensemble cast, and every actor has done a great job. But it's Pankaj Tripathi who steals the show. There's a certain innocence to him that helps him big time, and performance-wise, he’s outstanding. In fact, this is one of his most accomplished performances ever. He dominates every other actor, and that’s a feat. Konkona Sen Sharma is the next best and is terrific as always. Sara Ali Khan is alright, while Aditya Roy Kapur effortlessly slips into the part. Fatima Sana Shaikh proves yet again that she’s a powerful performer. Ali Fazal leaves a huge mark but has very limited screen time. Neena Gupta and Anupam Kher are lovely as expected. Saswata Chatterjee, Kush Jotwani, Darshana Banik (Jhunuk), Rohan Gurbaxani (Anand), Pranay Pachauri (Aryan), and the actors playing Kajol-Monty’s daughter Pihu and Cameraman Amay also do very well. The cameos by Imtiaz Ali and Anurag Basu are lovely.


On the whole, METRO…IN DINO stands out as a refreshing, one-of-a-kind musical entertainer that thrives on its relatable characters, engaging mix of humour and drama, and stellar performances. At the box office, it’s well-positioned to resonate strongly with multiplex audiences, who are expected to connect with its heart and soul.

Falling out of love is normal. How you manage to fall back in love with the same person over and over again, defines a relationship’s longevity. Modern love can label this as toxic; traditional love can see this as a significant compromise to stay committed. There are no rights and wrongs in love, or are there?
Anurag Basu’s 2007 ensemble film ‘Life in a Metro’ was an ode to love and survival in Mumbai. The film comprised great actors, riveting stories while letting Mumbai rain be the main character. 18 years later, he takes his fascination for changing relationship dynamics and perception of love in the digital age a notch ahead.
The spiritual sequel expands its story from Mumbai to other metropolises of the country – Pune, Bengaluru, Delhi and Kolkata. More cities come with more everything -- chaos, characters, songs and a massive duration of 2 hours, 42 minutes. Barring a few loose ends, Basu pulls it off even when it looks like he’s winging it. His conversational storytelling keeps things light and breezy even in times of sorrow and distress. Have more options ruined everlasting romance? Has excess information and availability killed the mystery around love? Basu tries to address these issues while ensuring humour finds its way through the loss and longing.
The treatment bears a slight resemblance to the tragicomedy tone of Barfi, with actors breaking into impromptu songs to take the story ahead. When the actors are not miming, Pritam, Papon and Raghav Chaitanya stay constant as sutradhars through their music, so expect a plethora of songs, making this a true-blue romantic musical.
Interestingly, Basu doesn’t tell us the names of his characters and their stories upfront. You discover them sporadically and organically. This withholding and release strategy helps in breaking clutter and adding an element of mystery to the story. Parth (Aditya Roy Kapur) is a philandering manchild-travel blogger, who finds HR consultant Chumki’s (Sara Ali Khan) faith in marriage and commitment strange. Sex overrides love for him but not for her. Kajol (Konkona SenSharma) and Monty (Pankaj Tripathi) are happily married until an incident blows the lid off that narrative. Shruti (Fatima Sana Shaikh) is drawn to responsible men but is unable to cut ties with her longtime struggling singer boyfriend Akash (Ali Fazal). Shivani (Neena Gupta) wants to live for herself for once and fulfils her desire when she reunites with her college sweetheart Parimal (Anupam Kher). Some characters are related and some cross paths at some point. The navigation between these tracks and differing emotion feels seamless.The songs don’t overpower the dialogues and it’s this blend that works in the film’s favour.
While they are distinct as actors, Pankaj Tripathi does for this film what Irrfan did for the prequel. His character stands out the most for his flawless repartee with Konkona. He looks great too. Ali Fazal internalises Akash’s trauma of being a failure and does it with utmost nuance, proving what a fine performer he is despite being largely untapped. Aditya delivers a nonchalant, liberating performance, making him ideal for the part that has a bizarre character arc. Konkona’s Kajol is spirited and broken. Who better than the actress to portray this turmoil. Neena Gupta and Anupam Kher deserved better parts. Sara Ali Khan lacks depth in her performance which makes it tough for you to relate to her character. The fringed wig feels out of place and unnecessary. Rohan Gurbaxani brings an easy charm to his extended cameo. Last but not least, Fatima Sana Shaikh is riveting as a woman torn between emotion and reason.
Despite being largely pleasant, some tracks don’t quite add up, feel uneven and don’t know where to end. After an engaging build up, the second half feels a tad stretched. You also wish the story scratched the surface a little more, especially for Konkona-Neena Gupta track, where the actors have the potential and gravitas to dig deeper.
There has been a scarcity of love stories in Bollywood and Metro In Dino, elevated by some fine performances, fills that gap perfectly. It is a breezy, intimate watch tailor-made for a rainy day.

It's strange how we have been making stories about love for over a century, and yet, we have no real formula for love itself. What is it, really? A fleeting moment of happiness? A subtle brush of skin? An abrupt exchange of eyes? However it may be defined, stories tell us that love is everything. And so, when Anurag Basu decides to dig deeper into its many colours in 'Metro... In Dino', you feel it - in all its wholesomeness. You feel how love ages, how it arrives unannounced, and what it leaves behind.
The beauty of 'Metro... In Dino' lies in its setting. Basu doesn't just tell stories - he stages emotions. Rain drizzles like a soundtrack. Cities breathe in the background. Love unfurls at a bus stop, on a footpath, under a dim streetlight. The mundanity of these locations is what makes them magical - streets you might have walked on, cafes you might have passed by. That familiarity lends the film its quiet charm, as if reminding us that the most romantic moments are often the most ordinary.

Much like in 'Life in... a Metro', Basu leans into his signature style of converging storytelling. But this time, he goes a step further - he crafts a true-blue musical with nostalgia and grounded emotion - something he wanted to do with 'Jagga Jasoos' earlier, but finally got it right this time.
The film has four couples scattered across Mumbai, Bengaluru, Delhi, Kolkata, and Pune - each carrying a different shade of love.

Pankaj Tripathi and Konkana Sensharma play a middle-aged couple with a teenage daughter, dealing with the fading spark in their marriage. Neena Gupta and Anupam Kher carry two lonely hearts who never quite got what they wanted from life. Ali Fazal and Fatima Sana Shaikh play a young couple stuck between individuality and intimacy. And Sara Ali Khan and Aditya Roy Kapur's love story feels like destiny's gentle push.

The stories in Basu's romantic universe are interesting, believable, and very romantic. Their conflicts are familiar, and their joys are worth celebrating. An older woman wanting to live her youth at a college reunion, a husband chasing his wife to Goa to apologise, a wife refusing to give up on her husband during hard times, or two strangers falling in love - you feel like you've known these people. You've perhaps been one of them.

It's a musical journey, not just in sound but in rhythm - a soft, swaying flow that lets you soak in the lives on-screen. The performances are unmissable, and the writing, sharp. The film doesn't promise a larger-than-life drama. It celebrates life as it is: messy, warm, imperfect, and beautiful.
Konkana and Ali Fazal, especially, take over with mature, layered performances. An emotional breakdown on a video call - simple and raw - shows Ali at his best, making you feel the ache of a man who doesn't know how to ask for help. Ali's Akash looks so torn and deeply agonising that you feel for him - you see his helplessness.

Basu weaves a world that feels painted with love. 'Metro... In Dino' is probably the perfect love story for monsoon. It is drenched in rain, but also captures that very essence of longing, waiting, and release. The cities - their chaos and silence - become part of the narrative. The visuals seem soaked in poetry - traffic flowing past glass windows, lovers talking on balconies overlooking skylines, yellow taxis in Kolkata zipping past the characters - Basu doesn't show you cities, he makes you feel them, speak to them.
This is not a one-toned film. It's vibrant, colourful, textured, and leaves you with a smile when the credits roll. For audiences yearning for a romantic film that feels both meaningful and breezy, this is it.

The music, by Pritam Chakraborty, deserves its moment. It doesn't decorate the film, it defines it. Without it, the anthology wouldn't be what it is - a lived-in, melodic experience. The songs elevate the story into a memory. And if you are someone who loved 'Life in a... Metro', you will find the music of this one a low-key tribute to KK, whose songs brought the 2007 film alive.

There are delightful bonuses too: Basu makes a quiet cameo, Imtiaz Ali plays himself, and there’s even a blink-and-miss Guddu-Kaleen Bhaiya moment (IYKYK). From innocent 'Jab We Met'-style charm to mature, melodic love, 'Metro... In Dino' offers everything - and all of it makes perfect sense.

'Metro In Dino' lets you feel. Every frame looks straight out of an art exhibition, and every song conveys something. This is cinema at its beautiful, honest best.

It stands to reason that Metro In Dino will have thematic similarities with its spiritual predecessor Life… In A Metro: warring couples, predatory bosses, commitment-phobic men, confused women, straying and returning, sacrifice and recompense.

It also has straight-up reprises. Konkona Sen Sharma, whose pairing with Irrfan was one of the highlights of the original, is the only one from the previous cast making a return, with Pankaj Tripathi standing in for the late, great actor; and the three-member band, led by Pritam, is strewn all over the film, like it was in the earlier iteration.

In the interim– eighteen years is a long time—so much has changed. Those clunky cell-phones, which a couple of characters used in the earlier film, have changed to the sleek oblongs everyone carries these days, with laptops, tablets, and an overuse of every other device that promises connection, but provides only disconnection. You don’t need an empty flat with a key, the idea borrowed from Billy Wilder’s classic The Apartment, to plan an assignation; you can just create a profile on a dating app and get right down to sexting, even if you choose to call it Linger, rather than Tinder.
But the one thing, if you go by Anurag Basu’s characters, that hasn’t changed are humans and their frailties and egos which come in the way of true connection. Pankaj and Konkona, as Monty (I still haven’t got over that name; who would ever have thought of Irrfan as a still-a-virgin-at-nearly-forty, unable to hide sexual neediness but wistful with it?) and Kajol, are weathering the sort of boredom that besets most married couples who behave like old socks, rather than sparkly stockings
Kajol’s younger sister Chumki (Sara Ali Khan) is trying hard to be a compliant girlfriend in preparation to be a good wife to a guy who wears his suspicions on his sleeve, when not shrugging his shoulders, a personality tic that she doesn’t notice until it is pointed out to her by travel vlogger Parth (Aditya Roy Kapoor) in a meet-not-so-cute moment.

Kajol and Chumki’s mother Shivani (Neena Gupta), who gave up her dreams of becoming an actor when she married the girls’ dictatorial dad (Saswata Chatterjee) is given a chance to relive her youth during a college reunion, where she runs into old flame Parimal (Anupam Kher).

Another strand is fronted by Shruti (Fatima Sana) and husband Akash (Ali Fazal) whose double-income-no-kids corporate grind is threatened by her sudden pregnancy and his deep-seated desire to become a musician. Termination is an option; unhappiness and resentment is a resultant outcome.
A few characters in this large ensemble do not get enough play: in a truly great film, even walk-ons have flash, even if they were always meant to be on the sidelines. You also wish, just like in the original, that Pritam and co would be heard less, and seen even lesser: yes, we know that the lilting soundtrack they create functions as a leitmotif-commentator-character, and Papon’s voice is dreamy, but after a point you want less, not more.

Aditya Roy Kapoor makes you miss Basu’s original muse Ranbir Kapoor, who patented the self-obsessed man-child character, but does well enough as the breezy, irresponsible fellow turning over a new leaf, Sara Ali Khan, playing a Kareena Kapoor-coded character, fares better here than she has in most of her previous films. She also gets a let-all-the angst-out-with-a-shout moment, taking you right back to a similar situation in the original.
Ali Fazal and Fatima Sana Shaikh dance around relatable dilemmas– careers, aspirations, children– even though he comes off more hangdog than anything else, and she a bit too morose. And just like veterans Dharmendra and Nafisa in the earlier one, Anupam Kher and Neena Gupta show how it’s done, rising above their improbable bits.

But there’s enough zest in the rest of it to keep us humming, and the film, even in its looseness and overly-stretchiness, thrumming. And what a relief, in these days of ham-fisted badly-made patriotic sagas and loud family melodramas, to find adult characters doing adult things, talking up desire and lust and love, even if you can see hints of conservativeness– characters getting into bed, but not going all the way– perhaps as a nod to these times which is bent upon taming all individual passion.
This really should be a series, because life is unruly and ungainly, spilling over the edges, annoying and exhilarating, in equal measure, and when Metro In Dino is at its best, it catches all those beats: I just hope Basu will not take eighteen years to make his third.

What he may have left missed out on in Life In A... Metro, director Anurag Basu more than compensates for it in this follow-up. Neena Gupta, Konkona Sen Sharma, Fatima Sana Shaikh, Sara Ali Khan, and even that young actor who plays Konkona Sen Sharma and Pankaj Tripathi's on-screen daughter...

All of them are the heroines of their own subplots in the larger scheme of the film. Even if some of these heroines journeys may have started with them not having 'main character energy', they don't take much time to grab the agency bull by its horns.

Unlike Life In A... Metro, the women in Metro... In Dino have had it with the men and their emotional unavailability, infidelity, manipulation, selfishness, and fence-sitting. These women speak out, react and take a call. They may give love (and/or marriage) a second chance but not without making the men earn it. They don't make compromises. They are people with agency, that agency which men on-screen and off-screen have enjoyed since time immemorial.

Well, well, well. How the turntables.

These women are messy, they say hurtful things to their loved ones after years of repressing their feelings, and they make tough, sometimes bad, decisions but they accept when they have crossed the line that's not to be crossed.

None of them is Goddess Sita who crosses the Lakshmana Rekha only to be abducted by Ravana. They are their own heroes, they don't need Lord Ram, they aren't waiting to be rescued.

If you'd watch closely, Metro... In Dino trains its lens on more than the four couples visible in the film's trailer and more than one kind of love.

Neena Gupta, Anupam Kher, and Saswata Chatterjee put on a stellar show as the elderly characters who are trying to decipher a new meaning of love in their twilight years. I really hope Neena Gupta wins an Oscar someday (IYKYK).

An electric Konkona Sen Sharma and the ever-dependable Pankaj Tripathi play a middle-aged married couple Kajol and Monty, who schedule sex like a dentist's appointment, are the crazier and more grown-up versions of Shruti and Monty from Life In A... Metro. Konkona Sen Sharma and Irrfan Khan played the latter characters in the 2007 film. (PS: Irrfan Khan would be proud of Pankaj Tripathi).
Aditya Roy Kapur and Sara Ali Khan are the modern spin on Bunny and Naina, played by Ranbir Kapoor and Deepika Padukone, from 2013's Yeh Jawaani Hai Deewani.

Aditya Roy Kapur does get drunk in Metro... In Dino but he's a womanising travel blogger who is constantly on the move (His Parth is the 2025 version of Bunny meets Adi). Sara Ali Khan's Chumki is a confused corporate employee (formerly a medical student) who starts questioning everything about love and marriage once things start going awry at home. Parth and Chumki are what Bunny and Naina would be today. Oh, and there's also a train thrown in the mix. (More Yeh Jawaani... feels).

Ali Fazal and Fatima Sana Shaikh's Akash and Shruti are the perfect example of what happens to a marriage when people let society and family "enter their bedroom", stop communicating effectively and bottle up emotions.

Akash and Shruti are ambitious but in very different ways. They try sacrificing for each other until bitterness starts to fester, they prefer texting over talking. Soon, they take each other for granted, name calling begins, and they start moving away from each other.

In a heartbreaking scene, an outgoing but shy teenager, who is too concerned about being misjudged by her parents and society for having doubts about her sexual orientation, seeks help from an AI app. At another point in time of the film's run, her grandfather asks an app to help him locate a smartphone his wife is carrying after she "runs away from home".


If you've watched the original Metro, you'll "scream your heart out" when you see very pointed references to the 2007 movie. If not, you'll still relate to them or find them funny.

The songs of Life In A... Metro, composed by Pritam and sung by a "live" band during the course of the movie, was another living, breathing character whose memory is fresh in the minds of the viewer and music lover who first listened to songs such as Alvida, O Meri Jaan, and Baatein Kuch Ankahi Si, 18 years ago.

The new soundtrack, also by Pritam with a different band also featuring Papon, is a decent upgrade with Zamaana Lage, Dil Ka Kya, and Aur Mohabbat Kitni Karoon. Whether these new tracks will remain in public consciousness after 18 years or so is something to watch out for.

Interestingly, people in the press screening (held on July 3 evening) were getting antsy when the songs would play interspersed with the narrative. They should have known they were coming for an Anurag Basu film in which music is a key component.

This also reflects how cinegoers have become used to about either no songs in a mainstream film or just promotional dancing numbers that appear with the end credits. So, the only way to make them listen to music is this, traditional and situational song-and-dance in the background.
Director Anurag Basu himself makes an appearance in a key sequence in Metro... In Dino. The film has Barfi! like emotions, the whimsical quality of Jagga Jasoos, and the chaos of Ludo. There's also another cameo by a director, who is believed to be the god of modern Hindi romance movies.

Watch out for that (almost) killer Mirzapur moment between Pankaj Tripathi and Ali Fazal's characters, even though it's dubbed over the original dialogue.

Making a follow-up to an acclaimed modern classic like Life In A... Metro was a tall task. Metro... In Dino is a bit sanitised when it comes to its outer appearance, its tone is not as sombre as its predecessor. The new movie is, however, a worthy albeit lighter and timely if not the perfect successor of Life In A... Metro.

In the age of social media, when clueless people are seeking AI's help as friend, philosopher, and guide, and treating dating apps to "meet" their potential matches (or timepass even), Anurag Basu should be praised for making a case for love, the old-school way but with a bit of much-needed wokeness.

18 years feels like it’s worth the wait. A spiritual sequel of Life In A Metro, Metro In Dino marks an end to Anurag Basu’s trifecta of hyperlinked cinema. So, when the film is over, you’re left with a bittersweet emotion. Does it do justice to its predecessors, Life In A Metro and Ludo, you ask? Yes. It’s filled with moments that will give you a happy hormone rush and sure, we needed it! It’s a love letter to love, to the city you live in, and to life. Sure, it captures the messiness of relationships but it also presents the same to you neatly tied with a beautiful bow.

It has its heart and soul in the right place. It is sublime to the core. Much like Anurag’s earlier works, this too shifts the spotlight on the raw tenderness of man-woman relationship. It’s pays an ode to Irrfan and KK. And in a cameo appearance, it features Imtiaz Ali, yet another filmmaker who has successfully been able to bring out the sparkle, intricacies and wringing agony of modern-day relationships. When you’ve so many creative Czars in spirit and passion associated with a piece of art, how can it possibly go wrong? Metro In Dino turns out to be the big-screen love story we’ve been waiting for and deserve.
It primarily revolves around the lives of four couples – Shibani and Parimal, Kajol and Monty, Shruti and Akash, and Chumki and Parth. Shibani isn’t really stuck in an unhappy marriage, but often finds herself questioning why she has allowed life to rob her off of her identity and aspirations. So, when an opportunity arrives to attend a college reunion, she grabs it with both hands. There, she meets Parimal. The two were in love but Parimal lacked the courage to take it to the next step. Years later, they reminisce the old times and set out on a journey to help Parimal’s widowed daughter-in-law find love and purpose again.

Kajol and Monty have started to notice the little dents in their marriage. Even sex now happens following an appointment. Monty resorts to a dating app called Linger to bring back the spark in his sex life and when Kajol comes to know of it, she takes matters into her own hands and begins chatting with him using a catfish account. She catches him red-handed and decides to walk out of the marriage. Monty, realising his mistake, sets out to win her back.
Shruti and Akash aren’t your regular lovebirds. “Shruti aur mujhe ek dusre se zyaada ek dusre ke pagalpan se ishq tha," states Akash. They get married and then Shruti gets pregnant. And that creates a dent in their relationship. Akash is now worried that he will have to put his dream of becoming a musician on hold and lead a regular, boring life as a corporate slave, much like his father. They decide to pursue a long-distance marriage but the thought of having a child draws Shruti to her colleague, a single father.

Chumki and Parth, on the other hand, meet accidentally. She’s already in a relationship, a safe one at that with no passion. Parth is a commitment-phobic playboy cum man child with no real job. Chumki, a self-proclaimed confused person, finds herself slowly drawn towards Parth but is left torn between him and her fiancé. Eventually, a friendship forms between her and Parth but much to her surprise, he announces one day that he’s finally ready to get married and has already found a match.


Even at 2 hours 42 minutes, there’s hardly a moment where Metro In Dino loses pace. Anurag manages to hold your attention for close to three hours and to be able to do that in a romantic drama is an achievement in itself. The comedy, the drama, the tension – Metro In Dino nails it all! The first half is terrific, extraordinary, making you laugh and think and shed a tear or two, all at once. The action drops a tad bit in the second half but that hardly impacts the narrative. And what’s interesting and special is that the film is sprinkled with references from Life In A Metro.

In a scene, the insouciant and happy-go-lucky Parth takes an upset and frustrated Chumki to Delhi’s Ugrasen Ki Bawli and helps her shout her heart out to let it all out and this is followed by a heartfelt conversation between them. Remember the iconic Monty-Shruti scene from Life In A Metro? In fact, Kajol and Monty in this film appear to be an extension of Shruti and Monty from the first one. Anurag beautifully incorporates the themes of modern romance such as infidelity, confusion, commitment phobia, mid-life crisis, fading love, feminism and second chances with aplomb.

To add to that, the performances are top-notch. Neena Gupta and Anupam Kher deliver brilliant acts. Konkona Sensharma and Pankaj Tripathi will win you over with their impeccable comic timing – maybe Pankaj will even make you not miss Irrfan so much. Every time Monty tries to woo Kajol, your heart will feel heavy with love. Fatima Sana Shaikh and Ali Fazal are fantastic too. In fact, it’s their storyline that stands out and the nuances and intricacies of their long-distance marriage and the push-and-pull is treated with a whole lot of maturity and sensitivity. Their chemistry is palpable and Fatima truly is a revelation.

Kudos to Anurag for also playing on Aditya Roy Kapur and Sara Ali Khan’s strengths. It wouldn’t be wrong to state that the Sara we knew from Kedarnath is finally back! She understands the assignment and portrays the grit and emotional fog of her character remarkably. Aditya too puts his comic timing on display and he’s charming, often reminding you of his Akash from Ludo or maybe even Bunny from Yeh Jawaani Hai Deewani, but we aren’t complaining at all.

It’s not every day that we get to see a Bollywood love story written with so much heart, maturity, intensity, intimacy and subtlety. Metro In Dino is a masterclass on modern-day love. It’s for the lonely, for the ones who won in love and then lost some. It’s as much Anurag’s film as Pritam’s. Zamaana Lage, Dil Ka Kya and Mann Ye Mera stand out particularly. Rush to the cinemas now!

A well-crafted film that celebrates love, loss, longing, and life in a metro… Emotionally rich. Highly relatable. Solid performances...
#AnuragBasu gets it right! #MetroInDinoReview

A spiritual successor to #LifeInAMetro [2007], #MetroInDino explores multiple narratives – a format that can easily backfire in inexperienced hands, but Basu's mastery ensures it lands right for the most part.

He weaves together four distinct stories, and while each has its own emotional arc, the ones that truly shine involve #PankajTripathi – #KonkonaSenSharma and #AnupamKher – #NeenaGupta... Their stories are sensitive, funny, and heartwarming in equal measure.

The #AdityaRoyKapur – #SaraAliKhan and #AliFazal – #FatimaSanaShaikh tracks have standout moments too, but the writing could've been sharper and the closure more convincing.

#AnuragBasu returns to form, capturing human emotions with rare sensitivity… The screenplay moves with fluidity, balancing heartache and hope with elegance... Dialogues are sharp, reflective, and rooted in reality.

The cinematography deserves a special mention – it beautifully encapsulates the loneliness, love, and chaos of urban life.

#Pritam's music is a strong pillar of the narrative. The live band, initially seeming like a distraction, gradually becomes an integral part of the storytelling – almost a character in itself.

Any shortcomings? Could've done with tighter editing – at 2 hours 42 minutes, the runtime feels stretched.

That said, the stellar ensemble cast delivers... #AdityaRoyKapur is top-notch... #SaraAliKhan surprises with a natural, mature performance.

#AnupamKher and #NeenaGupta are an absolute delight – seasoned, effortless, and endearing.

#PankajTripathi and #KonkonaSenSharma excel – their chat episode is hilarious, and what follows is truly unbelievable.

#AliFazal expresses pain and rejection with rare honesty, and #FatimaSanaShaikh is equally remarkable.

It was such a pleasure watching ‘Metro…In Dino’ at the peak of Mumbai’s monsoons. The movie will truly bring back fond memories of each stage of your life. While watching this film, you will realise how cinema can help you in healing your relationships. And ‘Metro…In Dino’ does it in the best possible way with a warm hug. The mood of this film is sometimes somber, but mostly bright. The simple stories of each relationship that we are aware of and weaving it all together are what make this film such a work of genius.
Even the excessive caricature of the roles played by Pankaj Tripathi and Konkona Sen Sharma will leave you in hysterical fits of laughter. ‘Metro…In Dino’ makes you believe that you should give your partner a second chance if he is truly sorry for what he has done. One may label ‘_Metro..In Dino_’ as a regular simple story, especially in today’s excessively complex, layered characters and the kind storytelling that we have got used to, but this movie will touch your heart because of its simplicity. This film has the power to bring back fond memories of monsoon like moody mirages of rain-washed yesteryears. There is infidelity, the tragedy of domesticity and the love and torture of metro life and more.
Anurag Basu, with his musical film, gives storytelling a totally new magic that we all were yearning for. Set in five cities, Delhi, Kolkata, Mumbai, Poona and Bangalore dealing with the lives of urban couples, each and every role with each stage, with its difficulties and complexities, is handled beautifully. It is a movie that you must go to if you wish to have a good time with friends and family. There are two mismatched couples who are trying hard to understand each other and also, at the same time, trying to figure out if they are made for each other at all or not.
But the center of the whole drama are two very important characters, Kajol Ghosh (Konkona Sen Sharma) and Monty (Pankaj Tripathi). Pankaj Tripathi, as usual, can pull off any role. Anurag Basu is known for his magic, and Konkona rightly mentioned in her interview with us that she is a part of the film because of Dada (Anurag Basu). No other director can make you feel happy the way Basu can. Even after you step out of the hall, and most importantly, even after you go back home after watching this film, the music of ‘Metro…In Dino’ keeps ringing in your ears.
Kajol Ghosh (Konkona Sen Sharma) and Monty (Pankaj Tripathi), a middle-aged couple married for quite a few years and have a teenage daughter who is confused about her sexuality. When Kajol Ghosh (Konkona Sen Sharma) discovers that her husband Monty (Pankaj Tripathi) just like one of her friend’s husbands is going on a dating site and having a good time with a woman, she wants to leave her and take a step which her mother could never take.

Her mother (Neena Gupta) is an aged lady with two grown up daughters who has always adjusted with life including her husband’s hot and cold treatment including infidelity. But she never wanted to become like her mother who has always adjusted with life and in return was treated like a doormat. She wants to break free. But her mother feels that Monty (Pankaj Tripathi) truly deserves a second chance and her father played by Saswata Chatterjee feels the same
On the other hand, Aditya Roy Kapur and Sara Ali Khan’s journey is the toughest, where nobody has any idea where their tale is heading. Chumki (Sara Ali Khan) is totally confused about her life. She in the very beginning of the movie declares how socially awkward she is. Parth (Aditya Roy Kapur) comes in like a breath of fresh air. And as usual he does justice to the role of a playboy. Akash (Ali Fazal) and Shruti (Fatima Sana Shaikh) are struggling with their relationship too. In Akash and Shruti’s relationship, the tension is so palpable that you will find yourself question that why is she even in this toxic relationship?

Pritam, Papon and Raghav Chaitanya, known as the Metro Band  made a magical entry with their presence from the very first frame. The story is simple, but not flawless. For a change, Sara Ali Khan’s performance is brilliant. She perfectly fits into the character of Chumki. And as a couple Neena Gupta and Anupam Kher look effortlessly beautiful bringing back fond memories of Calcutta.
‘Metro..In Dino’ truly deserves every bit of your time. This feel-good love story is indeed a must watch. Even after the movie ends, you may feel just the way I did, ‘I wish it was a little longer.’ The music and the snap shots of the film  just lingers in your mind. The direction, the story, the dialogues and screenplay effectively creates an engaging narrative.

Metro…In Dino: Qayde Se (Song) | Anurag B | Pritam, Arijit Singh, Amitabh Bhattacharya | Bhushan K

Metro…In Dino: Zamaana Lage (Teaser) | Anurag Basu | Pritam | Arijit Singh, Shashwat | Bhushan Kumar

Metro…In Dino: Aur Mohabbat Kitni Karoon (Song) | Anurag B | Pritam, Arijit S, Sandeep S | Bhushan K

Aditya Roy Kapur is an Indian film actor who works in Hindi-language films. He made his Bollywood debut with 2009 film London Dreams but rose to fame with 2013 film Aashiqui 2. His successful films include Aashiqui 2, Yeh Jawaani Hai Deewani, Malang and Ludo

Aditya Roy Kapoor

Daughter of popular Bollywood actors Saif Ali Khan and Amrita Singh, Sara Ali Khan is a Hindi film actor. A graduate from the University of Columbia, Sara’s debut Bollywood movie is Rohit Shetty’s Simmba opposite Ranveer Singh.

Sara Ali Khan

The current Chairman of Film and Television Institute of India, Anupam Kher’s career spans over three decades. An actor, director and producer, Anupam Kher has been a part of Tamil, Malayalam, Punjabi, Marathi, Chinese and English movies. Married to veteran actor Kirron Kher, Anupam Kher’s most notable performances include Saaransh (1984), A Wednesday (2008), Dilwale Dulhania Le Jayenge (1995), Special 26 (2013) & Khosla Ka Ghosla (2006).

Anupam Kher

Konkona Sen Sharma

Ali Fazal is a popular model and Bollywood actor. Ali made his acting debut in 2008 with James Dodson The Other End of the Line, where he appeared in a small role. He rose to fame with Rajkumar Hirani’s 2009 blockbuster movie 3 Idiots. Ali has appeared in movies like Always Kabhi Kabhi (2009), Baat Bann Gayi (2013), Fukrey (2013), Bobby Jasoos (2014), Sonali Cable (2014), Fukrey Returns (2017) and Victoria and Abdul (2017).

Ali Fazal

Neena Gupta is a National Award-winning actress and director. An alumnus of the prestigious National School of Drama, New Delhi, Gupta has garnered both critical and commercial success in Indian and international cinema. Some of her best known films include Gandhi, Cotton Mary, In Custody, Woh Chokri and Hello Zindagi. She gained widespread popularity with her work on Indian TV shows including Saans, Shyam Benegal's Bharat Ek Khoj, Buniyaad and Yatra among others.

Neena Gupta

Fatima Sana Sheikh is an actress who made her debut as a child artist in the 1997 film Chachi 420. She rose to fame with her performance in the film Dangal where she played the role of wrestler Geeta Phogat. She has also appeared in several popular TV soaps like Ladies Special and Agle Janam Mohe Bitiya Hi Kijo.

Fatima Sana Shaikh

An Indian actor, he primarily works in the Hindi films. Regarded as one of the most fine character actors, he made his debut with the 2004 release Run. However, his big breakthrough came in the Gangs of Wasseypur series in 2012. From thereon, there has been no looking back for this talented actor. He has delivered innumerable spectacular performances. Fukrey (2013), Masaan (2015), Nil Battey Sannata (2016), Anaarkali of Aarah (2017), Bareilly Ki Barfi (2017), Newton (2017) and Fukrey Returns (2017). Notably, he has received a special mention at the National Film Awards.

Metro In Dino(2025)