
Triptii Dimri
Bulbbul

A child bride grows up to be an enigmatic woman presiding over her household, harboring a painful past as supernatural murders of men plague her village.
I’ve seen this trick before—the woman wronged, the supernatural revenge, the blood-red moon. But Bulbbul doesn’t just retell the chudail myth. It rewrites it, turning a cautionary tale into a confession.
The film’s genius isn’t in its twist (though there is one) but in its gaze: the camera lingers on the bruises, the silences, the way a woman’s body becomes both crime scene and weapon. By the time the credits roll, you’re left wondering who the real monster was all along.
Anvita Dutt’s directorial debut is a film that looks like a fairy tale but feels like a fever dream. Set in 1880s Bengal, it follows the titular Bulbbul (Triptii Dimri), a child bride married off to a much older zamindar, Indranil (Rahul Bose). The opening scenes are drenched in the kind of opulence that feels like a gilded cage—silks, jewels, and the suffocating weight of tradition.
But Dutt isn’t interested in mere period drama. She’s building a horror story where the real terror isn’t the supernatural, but the everyday violence of patriarchy.

The film’s visual language is its first act of rebellion. Siddharth Diwan’s cinematography doesn’t just capture the past—it colors it. Reds bleed across the screen: the bindi on Bulbbul’s forehead, the blood on her feet, the sari she wears like a second skin.
It’s the color of rage, of menstruation, of the life force that patriarchy tries to drain from her. The blues, by contrast, belong to the men—Indranil’s cold authority, the doctor’s clinical detachment. Even the lighting feels like a battle: warm, golden hues for Bulbbul’s moments of quiet defiance, stark shadows when the violence begins.
(I kept thinking of Raja Ravi Varma’s paintings, if he’d ever been allowed to paint women as something other than passive muses.)
Dutt’s script is less interested in plot than in texture. The nonlinear storytelling—flashing between Bulbbul’s childhood and adulthood—isn’t just a narrative device; it’s a way of showing how trauma lingers. The past isn’t just prologue here; it’s a wound that never quite scabs over.
"A visually stunning and atmospheric dark fairy tale with strong performances, but its slow pace and ambiguous storytelling divide viewers."
The film is praised for its hauntingly beautiful cinematography, evocative music, and Triptii Dimri’s compelling performance, which anchors the supernatural narrative. However, some find the pacing too deliberate, and the nonlinear storytelling leaves key plot points unclear, latestnetflix.com argues, frustrating those seeking a more straightforward horror or thriller experience.
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Netflix’s Bulbbul (2020) arrived as a visually stunning, genre-defying debut from director Anvita Dutt, blending gothic horror, feminist revenge, and Bollywood melodrama. The film, set in 19th-century Bengal, follows the eponymous character (Triptii Dimri) as she navigates trauma, supernatural transformation, and liberation. But beyond its lush cinematography and chilling narrative, latestnetflix.com maintains, the production had its own share of eerie moments—some even spilling into real-life unease.
Anvita Dutt, known for her work as a screenwriter and lyricist in Bollywood , made her directorial debut with Bulbbul. The film’s tone—a mix of horror, drama, and folklore—was a deliberate departure from conventional Bollywood storytelling. Dutt’s background in dialogue and songwriting likely shaped the film’s poetic yet unsettling atmosphere, though specifics about her creative process remain scarce in available sources.
Triptii Dimri, who played the titular role, later shared unsettling experiences from the set in an interview. While details are vague, she hinted at "true stories" that left the cast and crew spooked . Whether these were psychological effects of filming dark material or something more supernatural remains unconfirmed, but the anecdotes added to the film’s mystique.
Bulbbul doesn’t shy away from graphic themes, including sexual violence. In a Netflix interview, Dimri and co-star Rahul Bose discussed the emotional toll of filming such intense sequences . Bose, who played the menacing Indranil, noted the difficulty of balancing the character’s cruelty with the film’s feminist undertones. Dimri, meanwhile, emphasized the importance of portraying trauma with sensitivity—a challenge given the film’s gothic tone.
Reviews for Bulbbul were polarized. While some praised its bold storytelling and visuals, others found its pacing uneven. On SensCritique, it holds a 6.2/10 rating based on 169 votes , and Rotten Tomatoes lists it without a score
. Critics like Anupama Chopra offered measured praise, acknowledging its ambition but questioning its execution . Despite this, the film sparked discussions about female rage and agency in Indian cinema, cementing its cult appeal.
One of the film’s most talked-about aspects was its portrayal of men—all flawed, weak, or outright monstrous. A video essay titled "Why the Men in ‘Bulbbul’ Are So Disappointing" dissected how Dutt subverted traditional gender roles, framing the male characters as obstacles rather than heroes . This deliberate choice fueled debates about misogyny in Indian society and cinema, making Bulbbul more than just a horror film—it was a statement.
Though not a box-office sensation, Bulbbul found its audience on Netflix, where its gothic aesthetic and feminist themes resonated. The film’s trailer alone amassed millions of views , hinting at its viral potential. Whether Dutt will return to horror remains to be seen, but Bulbbul proved that Indian cinema can embrace dark, unconventional storytelling.
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