Pagglait Reviews (Top Critics)
By Anupama Chopra

In a strange coincidence, within three months, we have two Hindi releases about widows finding their strength and spine in the 13 days of mourning after their husband's death. Seema Pahwa's Ramprasad Ki Tehrvi was the story of Amma ji, played by a terrific Supriya Pathak, who, surrounded by her children and grandchildren, negotiates with her own loneliness and takes charge of her life.

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By Vibha Maru (3/5)

"Jab ladki logo ko akal aati hai na, toh sab unhe Pagglait hi kehte hai!" This dialogue encapsulates the essence of Umesh Bist's Netflix film Pagglait. After years of being told what to do by others, when a girl simply takes over the reins of her own life and makes her own decisions, she is called a maniac, psycho, freak and several other things.

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By Sukanya Verma (4/5)

One's response to death is directly proportional to one's attachment with the departed. Between those whose grief is inconsolable and those inconvenienced by it, a funeral can offer a study in tragicomedy. In Pagglait, Writer and Director Umesh Bisht's witty, moving and mild-mannered movie about self-realisation, the end of one journey becomes the beginning of another against the backdrop of a family's disquiet and disputes.

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By Aishwarya Vasudevan (3/5)

Stories coming from the heartland of the country are a reflection of how people are unlearning age-old regressive traditions. It's not a necessity that the younger generation of the family wants to break the bondage of the traditions but the support of older people help in doing so. Pagglait starts as a film about a family mourning the sudden demise of the oldest son who got married five months back.

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By Gautaman Bhaskaran (4/5)

A once-upon-a-time television advertisement talks about how a young divorcee takes care of her ex-mother-in-law. When the older woman asks why the young girl is so dedicated and considerate, pat comes the reply: "I divorced your son, not you". In a very strong way, director Umesh Bist's ( known for shorts and television serials) Pagglait follows this heart-tugging selfless theme.

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The Times Of India
By Pallabi Dey Purkayastha (3/5)

Sandhya's (Sanya Malhotra) husband of five months, Astik Giri, is dead and while the whole family is inconsolable, the young widow is glued to her social media accounts, and is craving soda and chips. No tears, no grief... This Netflix film is a satire on the conventional ways of dealing with grief, how a woman should 'behave' on her partner's funeral and wake and why a she needs to be told - at every step of the way - how to lead her own life. Tsk!

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By Anna M.M. Vetticad (3.5/5)

Funerals have long been a popular site for cinema. Filmmakers see the excruciating beauty in grief. They know the regressive, patriarchal and (in India's case) casteist customs and beliefs involved in last rites. They are also aware of the goings-on beyond the mourning among surviving kin: gossip, financial wranglings and personal tensions, all while camouflaging awkward memories of the 'dear' departed. Pagglait packs all these elements into one story, but distinguishes itself within the genre with its focus on a family's proprietorial attitude to a newly widowed woman.

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By Nandini Ramnath

If a week is a long time in politics, 13 days prove to be life-altering for the recently widowed Sandhya. As her in-laws prepare to mark the ritual mourning period and host an army of relatives, Sandhya struggles to grieve for a man to whom she has been married for five months, learns a thing or two about him and dusts off her wings.

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The Hindu
By Sayan Ghosh

Netflix's focus on chronicling stories set in India's small towns breaks new ground with Umesh Bisht's film Pagglait. Aided by a skillful cast of actors and sharp writing, the movie rebels against the conventional social order that leads to the germination of an atypical Indian joint family. It does so by serving as a reflection of the insular societies within the larger Indian polity, setting the stage for a dark drama bordering on ludicrously funny.

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Hindustan Times
By Soumya Srivastava

Sanya Malhotra plays Sandhya, a young woman whose husband, Astik, died merely five months after their wedding. Not the wailing widow at all, she is surfing through Facebook, and yawning at the 'RIP' comments that keep coming in. To most, it would seem as if she has lost her senses, perhaps from the trauma of her husband's death. However, the closer you get to her, in her room, by her bedside, you realise that she is simply indifferent. Their five months of marriage could never make a husband and wife of Sandhya and Astik.

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By Saibal Chatterjee (3/5)

An untimely death, a bereaved woman, a couple of life-altering flashpoints and intimations of a new lease of life combine to fuel Pagglait, a Netflix original film scripted and directed by Umesh Bist. Its ambition is mid-size, but the execution is deft enough to offset its limited scope. The drama centres on a young widow who feels no sorrow. Her demeanour confounds her relatives. Amid the post-funeral rituals, she has other things on her mind and those around her cannot fathom what is going in.

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By Vishal Verma (4/5)

What happens when Rani Mehra from the movie Queen gets married in the family of the Mishra household from the web series Gullak? Writer director Umesh Bist (Director O Teri - 2014, writer Hero - 2014) gives his best shot till date and can pat his back for this pure desi quirky delight that adapts the style that we have seen in Amit Ravindrenath Sharma's Badhaai Ho, Ashwiny Iyer Tiwari's 'Bareilly Ki Barfi' to adapt the typical Hindi heartland milieu in a quirky family drama that is deceptively thoughtful and uplifting as well.

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