Name: OCD
Genre: Psychological, Thriller
Released: 2026-02-06
Rating: 8
Cast: Jaya Ahsan, Koushik Sen, Anashua Majumdar, Koneenica Banerjee, Sreya Bhattacharya

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Dr. Shweta lives by one idea: cleanliness is next to godliness. But when memories of her childhood abuser come rushing back and he still walks free, her inner peace shatters. Haunted by her past, she decides to take justice into her own hands. What begins as a step toward closure quickly spirals into an obsession where morality clashes with revenge and nothing stays clean anymore

Times of India

Soukarya Ghoshal’s latest film is framed as a psychological thriller rooted in childhood trauma, but it soon reveals itself to be far more layered. From its opening moments, the film foregrounds the power of words – how they shape minds early on and leave lasting imprints that quietly govern adult lives.
OCD follows Shweta (Jaya Ahsan), a dermatologist who is partially raised by her fiercely protective grandmother (Anashua Majumdar). The values the grandmother instils in Shweta seep deep into her psyche, influencing her worldview and determining the course of many incidents in her life. This early conditioning manifests in Shweta’s adulthood as severe germophobia and touch aversion, marked by an intense disgust for dirt and grime.
The film delves into the workings of a hyper-aware mind and the process by which it acquires its compulsions. While the first half unfolds at a measured, sometimes languid pace, the payoff arrives in a far more gripping final act. Ghoshal demonstrates remarkable control over visual storytelling, using props and sets with precision and framing each scene with deliberate care.
Sound design plays a vital narrative role. From birdcalls to the relentless noise of construction, every auditory element is meticulously placed and sharply edited by Arghyakamal Mitra to match the film’s rhythm. Aalok Maiti’s cinematography complements this with assured use of light and framing, allowing the narrative to move fluidly between past and present. Colour, makeup, and lighting further accentuate the austerity of faces, as well as the neglect and poverty suggested through carefully illuminated objects and spaces.
Jaya Ahsan delivers an impeccable performance as Shweta, fully inhabiting the character with quiet intensity – her eyes carrying much of the emotional weight. Anashua Majumdar is equally compelling as the austere grandmother, rendering her uncompromising, overprotective nature with unsettling realism. Sreya Bhattacharya, Koushik Sen, and Koneenica Banerjee offer strong support in their respective roles.
Notably, it is the three child actors—especially Arshiya Mukherjee as young Shweta, alongside Rishaan Chakraborty and Debanjali Mondol – who leave a lasting impression. Their performances feel natural, assured, and emotionally honest. In several sequences, Ghoshal captures children’s emotional intensity with striking sensitivity, underscoring how vulnerable they are to adult words and actions.
Ultimately, OCD carries a resonant social message – not only about child abuse, but about the profound and often underestimated influence adults wield over children. Ghoshal avoids prescribing a clear moral position; instead, he presents a spectrum of behaviours and consequences, inviting viewers to confront uncomfortable truths and initiate conversation. In doing so, OCD succeeds both as cinema and as social commentary.

OCD

OCD(2026)

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