Name: Tu Yaa Main
Genre: Thriller, Romance
Released: 2026-02-13
Rating: 6.4
Cast: Shanaya Kapoor, Adarsh Gourav, Parul Gulati, Mona Singh, Aanand L. Rai

Two content creators set off on an adventure that turns life-threatening. To make it out alive, they must outwit the wild and each other.

Tu Yaa Main

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TU YAA MAIN is adapted from the 2008 Thai film THE POOL (screenplay by Ping Lumpraploeng). Himanshu Sharma's story is thrilling. Abhishek Arun Bandekar's screenplay is captivating. However, the romantic portions in the first half could have been crisper. Abhishek Arun Bandekar's dialogues could have been funnier in the first half. But overall, the one-liners are entertaining and relatable to the youth.

Bejoy Nambiar's direction is stylish. Since his first film SHAITAAN [2011], he has been a pro when it comes to technicalities, and in TU YAA MAIN, he takes this skill a few notches higher. The writing is youth-centric and he makes it far more appealing with his execution. The love story has its charm and a few scenes that work big time are Maruti following Avani’s car, Avani opening up about her parents, Avani feeling at home at Maruti’s Nala Sopara neighbourhood etc. It is often said that our films lag behind when it comes to horror and jump scares. But TU YAA MAIN is an exception. A few scenes will lead to screams and gasps, and this experience will only add to the impact of the film in cinemas. The climax is quite nail-biting and the film ends on a great note.

On the flipside, at 145 minutes, the run time is a bit too long for a film of this kind. It is understandable that the makers wanted the viewers to get invested into the lives of Avani and Maruti, so that when they get stuck in the pool, one can root for them and even get moved by their agony. But then the love story should have been depicted a bit more quickly. This is because viewers have entered the theatre to watch not just the protagonists but also the crocodile. Though it spreads terror in the intro scene, it’s largely absent in the first half. Hence, viewers might feel a bit restless as the creature doesn’t unleash its terror in full force until the intermission. Secondly, there are too many songs and only some of them get registered. Lastly, a few moments are unconvincing.
Tu Yaa Main Movie Review Performances:
This is Adarsh Gourav’s biggest theatrical film to date and he makes good use of the opportunity. He looks every inch an influencer from the outskirts of Mumbai and gets into the skin of his character. He also excels in the emotional scenes. Shanaya Kapoor proves her acting talent and delivers a commendable performance. This is not an easy performance and yet she nails it. Parul Gulati lends able support. Amrutha Srinivasan and Rajat Kaul perform as per their respective character’s demand. Kshitee Jog (Maruti's mother) and Rajsi Anant Kinjalaskar (Sonali; Maruti's sister) are dependable, while Ansh Vikas Chopra (Fabric) is highly entertaining. Rajendra Gupta (Driver) and Parvathy Thiruvothu (mute guest) leave a mark in cameo appearances. Shrikant Yadav (Tavde; cop) is aptly cast. Sagar Muralidhar Bhandgar (Vasanta; caretaker) and Vikram Dahiya (Chinese food delivery guy; also the film’s action director) are fair.

Tu Yaa Main Movie Review Conclusion:
On the whole, TU YAA MAIN is a decently made survival thriller that benefits from Bejoy Nambiar’s slick treatment, effective jump scares and sincere performances by Adarsh Gourav and Shanaya Kapoor. However, the stretched runtime and the relatively slow build-up, especially before the crocodile action kicks in, dilute the overall impact. The film’s fate at the box office will depend largely on word of mouth, particularly among the youth.

 ‘Tu Yaa Main’ often feels like two separate films stitched together without enough glue. The first half and the second half move in very different directions. Both portions are confidently directed and well performed, yet when you step back and look at the whole, the narrative doesn’t fully come together. The emotional drama and the survival thriller seem to exist in isolation rather than feeding into each other. Even so, the film remains watchable because of Bejoy Nambiar’s sharp, inventive handling of the material. At its core, it follows two influencers who are poles apart but decide to collaborate, giving Adarsh Gourav and Shanaya Kapoor ample room to deliver solid performances.
The story centers on Avani Shah (Shanaya Kapoor) and Maruti Kadam (Adarsh Gourav), both rising names in the social media space. Avani, known online as Miss Vanity, comes from privilege, commands millions of followers, and operates with a professional team behind her. Maruti, who goes by Aala Flowpara, is a rapper and content creator from Nalasopara, working hard to carve out his own space. They meet at a music event, where Maruti sees an opportunity and suggests a collaboration. Frequent meetings turn into affection, and soon they fall in love. Avani grows close to Maruti’s family, stepping into a world very different from her own. Trouble begins when they cross a threshold, creating tension within her family, who urge her to prioritize her career. Hoping to ease the situation, her family sends the couple to Goa. There, events spiral unexpectedly when the two find themselves trapped in an empty, deep swimming pool with a crocodile and no escape route.
The film opens strongly, painting the contrasting worlds of its leads with care. Rain-washed Mumbai provides a textured backdrop, and the evolving relationship between the two feels natural. The music blends well with their lifestyles, and the supporting characters add authenticity. The first half moves at a brisk pace, grounded in emotion and social dynamics. The shift in the second half is sudden. What follows is a survival drama focused entirely on their fight to stay alive inside a 20-foot-deep empty pool with a predator lurking beside them. This portion generates tension and keeps you invested moment to moment. However, the film struggles to connect this high-stakes situation with the emotional build-up that came before. By the end, several narrative threads remain unresolved, leaving a sense of incompleteness.
Adarsh Gourav delivers a convincing performance, capturing Maruti’s hunger and street-smart confidence with ease. His portrayal feels lived-in, especially in the rap sequences and in moments that highlight his ambition. He brings a distinct Mumbai flavour to the role that makes the character feel rooted and authentic. Shanaya Kapoor presents Avani with restraint and quiet authority. She conveys privilege not through exaggeration but through composure and presence, which works in the film’s favour. Together, they carry much of the film’s weight and ensure it remains engaging despite its structural flaws.
Adapted from the 2018 Thai film ‘The Pool,’ this version checks many boxes in terms of atmosphere and tension. Yet it is puzzling that the screenplay does not fully bridge the emotional drama and the survival arc. The extended build-up seems to promise a payoff that never quite materializes. The crocodile episode, though gripping, feels detached rather than organically earned. It plays out almost like a separate film inserted into an already established relationship drama. The film keeps you involved while it plays out, but if you value narrative cohesion, you may find yourself wishing the two halves had merged into a more unified whole.

A good thriller doesn’t announce itself with noise. It creeps in quietly, tightens its grip scene by scene, and keeps your mind racing long after the scene leaves the screen. It’s the kind of film that makes you lean forward, second-guess your instincts and play detective in your head. Bejoy Nambiar’s Tu Yaa Main understands this instinct well. It wants you alert, uneasy and constantly asking, “Did that really just happen?” throughout the course of the movie.
A remake of the 2018 Thai film, The Pool, Tu Yaa Main places its story firmly in today’s world, where clout matters, attention is currency and survival is not always about strength but choice. Set largely in Mumbai and driven by Gen-Z energy, the film stars Adarsh Gourav and Shanaya Kapoor in a pairing that feels surprisingly natural. What begins as a modern romance slowly slips into something far darker and far more unsettling...but treads a more adventurous route.

Shanaya Kapoor plays Avani Shah aka Miss Vanity, a social media influencer who lives life through a phone screen and thrives on visibility. Adarsh Gourav is Maruti Kadam aka Ala Flowpara, a rapper from Nala Sopara, chasing a dream that feels just out of reach...on paper. They come from very different worlds, yet they are drawn to each other by ambition, curiosity and a need to be understood and viral. Their meeting is rooted in collaboration, but the film smartly allows space for emotions to develop without rushing into dramatic declarations.
A planned trip to Goa changes everything. Circumstances go wrong, plans fall apart, and Avani and Maruti are forced to stop at a remote hotel. From here, the film quietly shifts gears. What once felt like a breezy road story turns into a nervewracking survival drama. Danger doesn’t announce itself immediately, but when it does, it is brutal and relentless. The crocodile threat, which could have easily slipped into campy territory, is handled with surprising restraint.

What works early on is the ease of the storytelling. Nambiar doesn’t overdo the glamour of online fame, nor does he romanticise struggle. Avani’s polished life and Maruti’s modest reality are shown side by side, letting the contrast speak for itself. There is warmth here, and even humour, as the two explore each other’s spaces and boundaries. It feels lived-in and believable, which is crucial for what comes later.

The first half of Tu Yaa Main focusses on building connections. There is youth, excitement and that fragile thrill of liking someone new. The second half strips all of that comfort away. It becomes a test of instinct, fear and trust. The tone sharpens, the pace tightens and the film becomes far more physical. You stop thinking about romance and start worrying about survival. Personally, this darker half is where the film truly comes alive.
Cinematographer Remy Dalai plays a big role in creating that feeling of suffocation. The pool sequences are especially effective, shot in a way that makes the water feel like a trap rather than an escape. You can almost feel the weight pressing in, the panic building with every movement. These moments are unsettling in the best way, forcing the audience to share the characters’ fear.

Nambiar’s direction keeps the film moving without losing focus. There are nods to classic Bollywood thrillers, including a playful reference to Khoon Bhari Maang, but they never feel forced. The film knows what it wants to be and sticks to it. It doesn’t drag, it doesn’t overexplain, and it trusts the viewer to stay engaged.

That said, the film is not without flaws. There are moments in the latter half where logic bends a little too conveniently. Maruti’s transformation at a crucial scene involving water is one such example. These details may pull you out briefly, but the tension quickly pulls you back in. The film’s grip is strong enough to survive a few missteps.
Adarsh Gourav is the clear standout. His Maruti feels real, from the accent to the body language, and his emotional arc never feels exaggerated. He brings both vulnerability and grit to the role. Shanaya Kapoor holds her own as Avani, capturing the confidence and uncertainty of a young woman shaped by constant visibility. Together, they share a chemistry that feels unforced, which makes their journey more impactful.

The music sits well with the mood. Songs don’t interrupt the narrative but flow with it. The background score supports the tension without becoming overwhelming. Visually, the film is strong, and the crocodile effects are convincing enough to keep the fear alive.

Tu Yaa Main is not a neat, polished thriller, and that’s part of its charm. It’s messy in places, intense in others, and deeply committed to making you feel uncomfortable. It asks you to step into its characters’ shoes, to feel their fear and confusion, and to judge them not from safety but from survival mode.

In the end, this is not just a thriller about danger lurking in water. It’s about choices, trust and the thin line between attraction and fear. Tu Yaa Main may not be perfect, but it is bold, gripping and refreshingly different. For those willing to surrender to its mood and chaos, it offers exactly what a good thriller should: a tense, unpredictable ride that keeps you guessing till the very last frame.

Rain-soaked Mumbai. Influencers. A modern-day love story standing on an economic divide. And a crocodile or two. That’s Bejoy Nambiar’s Tu Yaa Main in a nutshell. There’s no right way to describe this genre-bending tale. It’s rooted in reality and yet far away from it. What starts off as a love story eventually segues into a survival thriller – one that will make you hold your breath, clench your fists, bite your nails. In a sea of thrillers, this one surely remains memorable and takes you to places you wouldn’t imagine even in your scariest nightmares.

Adapted from the 2018 Thai film The Pool, Tu Yaa Main has a rather interesting and polished feel and texture to it. It revolves around young adults – Avani Shah and Maruti Kadam. Avani is a wealthy but orphaned influencer who goes by her social media handle name, @MsVanity. Maruti, on the other hand, is a content creator from Nala Sopara, who likes to be referred to as @AlaaFlowpara. He’s also an actor, rapper, director and producer. Their worlds collide when Maruti and his best friend Fabric are caught shooting outside Avani’s bungalow without permission.
As Maruti almost gets into a fistfight with the security guard, he locks eyes with Avani. She too is fascinated by this boy, who’s far removed from her glossy and glamorous world. They again meet each other at a live concert where Maruti takes to the stage. Sparks fly and against the wishes of Avani’s sister, brother-in-law and best friend, they start meeting. While Maruti introduces her to his version of Mumbai through bike rides, roadside pav bhaaji, cutting chai and local trains, she gives him a glimpse of her life.

When Avani gets pregnant, tensions arise. The duo decides to take a trip to Goa and find a solution to their ‘situation’ after returning to Mumbai. A broken motorcycle leads them to spend their night at a hotel in a small town. The next day, due to a malfunctioning pump, they get trapped in a deep swimming pool with a deadly crocodile that has escaped from a nearby waterbody. Thus begins their struggle to save their lives amid power cuts, storms and no human presence. Now, Tu Yaa Main is no crisp, taut thriller.
At 2 hour 25 minutes, you’ll have to give it some time to become a world of its world. The action takes a major dip in the first half, which is entirely dedicated to establishing their love story, emotional bond, lovers’ tiff and the main crux of the narrative. Bejoy decides to start the film with a startle where Amruta Khanvilkar, in a cameo, teases her lovers to join her in a river but ultimately become a prey to a crocodile. It sets the mood of the story just right and that’s where the second half of the story picks up from.

The strongest link of Tu Yaa Main, in fact, is its post-interval block where Avani and Maruti do everything in their capacity to protect themselves from the maneater – with the three of them cohabiting within the radius of a swimming pool floor that turns into a claustrophobic battleground. The reptile lunges repeatedly, forcing them into desperate improvisation – they tear strips from their clothes to fashion a makeshift rope in an attempt to climb out, only to be driven back into the water.
With no clear escape, they use whatever comes to hand: a wooden chair as a fragile shield, shrill whistles to ask for help and constant movement to stay out of its snapping jaws. This sequence is staged as an extended survival set-piece that thrives on sustained, nerve-fraying tension rather than spectacle alone. The choreography of movement creates a suffocating sense of entrapment that will make you physically tense, almost clenching your jaw in fear of the next attack and anticipation of final relief.

And a big credit goes to cinematographer Remy Dalai for making this dancer feel real rather than cinematic. His lenses beautifully capture rain-soaked Mumbai and the Konkoni countryside. Bejoy’s technical team surely deserves brownie points for creating this survival-driven storytelling seeped in cinematic anxiety. Music composer Prateek Rajagopal not only offers some upbeat Mumbaiyya underground rap but also background scores that heighten the overall visual note.

Adarsh Gourav sinks his teeth into the Nala Sopara boy Maruti with aplomb. He gets the lingo just right, almost making it a lived-in reality. His internalised vulnerability in the first half and nervous intensity in the second steal the show. Shanaya Kapoor as Avani is rather impressive, showing a significant growth from her debut outing, Aankhon Ki Gustaakhiyan. In the pre-interval block of Tu Yaa Main, the makers play to her strengths and offer her a role that fits her well.
Her minimalism works here as her character thrives on emotional restraint. There are bits, however, where she lets her guard down and brings her vulnerability to the fore. Their chemistry is unconventional as their characters are rooted in contrast and yet complement each other. Bejoy also deserves credit for capturing Avani and Maruti’s love story that journeys through a 10×10 koli in Nala Sopara to a villa in South Mumbai. It’s electrifying but still has quiet moments of emotional intimacy.

As for the supporting cast, Kshitee Jog and Ansh Vikas Chopra are top-notch. Parul Gulati, however, suffers due to an under-baked role. Parvathy Thirovuthu is confined to a part that neither challenges her or contributes meaningfully to the film. An actor of her calibre deserved a more layered role.

Watch Tu Yaa Main for its freshness. It may test your patience before it tests your nerves but it dares to blend romance and creature horror into one experience, and that almost works. The film, however, slightly falters at its closing frame. After investing heavily in prolonged tension and emotional build-up, Tu Yaa Main opts for an ending that feels rushed, leaving a few questions unanswered. But all said and done, it is Bejoy’s willingness to take risks that gives the film its distinct identity.

The first half is funny, sharp, and engaging right from the opening shot. There’s an old-song vibe with the Aankhein Chaar track that adds a layer of nostalgia to the narrative. Just when you begin enjoying the lightness, the story slows slightly, making you question its larger intention. And then comes the interval.

The intermission point is a complete game-changer, the real hook of the film. The second half turns darker, more intense, and far more intriguing. Just when you think things cannot possibly get worse, the unimaginable happens.
Despite its genre, the film stays surprisingly grounded, rooting its horror in emotional and situational authenticity. The interval twist is sharp, shocking, and effective, while the latter half remains unpredictable and gripping.

The jump scares are genuinely terrifying. You might just find yourself watching with your eyes half shut, or clutching the person next to you.
The screenplay and direction are powerful, keeping the tension alive throughout. The CGI is easily among the best we have seen in recent times, polished, immersive, and technically impressive, something Bejoy Nambiar is clearly known for.
- Adarsh Gourav as Aala Flowpara delivers a convincing performance, particularly in the second half where the emotional and psychological beats demand greater depth. He brings authenticity to the rap-world backdrop and transitions seamlessly into the darker territory. 
- Shanaya Kapoor as Ms. Vanity is decent and adds intrigue to the narrative. 

- Ansh Chopra, as Fabric, is absolutely hilarious and commands the screen with effortless presence.

Final Verdict
Tu Yaa Main begins as a fun, quirky ride, takes its time finding solid footing, but redeems itself with a gripping second half and a stunning interval twist. Backed by strong direction, effective horror elements, and impressive CGI, the film remains engaging till the end. If you enjoy horror that balances humour with tension and unpredictability, this one deserves a watch.

Disclaimer: The views and opinions expressed in this article are those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.

Tu Yaa Main - Trailer | Shanaya K, Adarsh G | Bejoy Nambiar | Aanand L Rai | Vinod Bhanushali

Tu Yaa Main: Teaser | Shanaya K, Adarsh G | Bejoy Nambiar | Aanand L Rai | Vinod Bhanushali

Shanaya is the daughter of actor Sanjay Kapoor and Maheep Kapoor. She was the assitant director on her cousin Janhvi Kapoor's movie Gunjan Saxena: The Kargil Girl. In March last year, Shanaya Kapoor shared the news about her Bollywood debut with the following announcement: “Woke up today with the most grateful heart!

Shanaya Kapoor

Adarsh Gourav Bhagavatula is an Indian actor and singer who works in Hindi and English films. Gourav is best known for his portrayal of Mohit Chadda in the Hindi thriller film Mom, and of Balram Halwai.

Adarsh Gourav

Parul Gulati

Mona Singh is an actress and TV presenter who rose to fame with the soap opera Jassi Jaissi Koi Nahin. She went on to star in other popular shows and appeared in films like 3 Idiots, Utt Pataang and Zed Plus among others. Her work on TV has earned her several prestigious awards and accolades.

Tu Yaa Main(2026)