Lost: A Captivating Opening that Loses Momentum in Its Quest for Justice

Lost, currently available for streaming on Zee5, is a full-length feature film that explores the issue of missing individuals in India and the complexities involved in many of these cases, which may not be as straightforward to resolve as they appear. Directed by Aniruddha Roy Chowdhury, known for the critically acclaimed film Pink released in 2016, the movie features Yami Gautam as a crime journalist looking into the disappearance of a 26-year-old Dalit theatre activist. Regrettably, Lost struggles to maintain its coherence after the first half; continue reading for my spoiler-free assessment of this recent release.

Set against the backdrop of contemporary Kolkata, Lost effectively connects with themes that significantly impact the younger generations in modern India: caste discrimination, political maneuvering, police influence, and the risks associated with activism. While the film boasts a talented cast delivering commendable performances, its narrative lacks cohesion, which undermines its efforts to discuss relevant issues. The majority of the dialogue is in Hindi to appeal to a broader audience, but it sporadically incorporates easily understandable Bengali phrases for added local flavor.

The narrative begins with journalist Vidhi Sahani (Yami Gautam), who encounters a woman in distress at a police station after registering a missing-person report for her brother Ishan (Tushar Pandey), aged 26. This incident prompts her to take an interest in the investigation, which ultimately leads to allegations that the missing individual is a Naxalite who vanished to follow a particular agenda.

Key figures in the case include the charming state minister Ranjan Varman (Rahul Khanna), Ishan’s determined ex-girlfriend Ankita Chauhan (Pia Bajpiee), and his sister (Honey Jain), who asserts that despite his activism, he was staunchly opposed to violence and would never join a Naxalite group. Additionally, Vidhi’s grandfather (Pankaj Kapur), with whom she resides, offers her guidance while she navigates a difficult long-distance relationship with her boyfriend Jeet (Neel Bhoopalam).

The film remains captivating during its initial half, supported by strong casting and performances. Yami Gautam, Pankaj Kapur, and Rahul Khanna shine, with Khanna skillfully embodying a shrewd and ambitious politician. Pankaj Kapur also has pivotal scenes where he convincingly projects a sense of intelligence and fearlessness, despite underlying tensions.

However, the character motivations come across as vague, and the film at times feels like a showcase for Yami Gautam to display her collection of chic urban outfits while interviewing individuals in Kolkata. It also devotes excessive attention to less pertinent topics, such as Vidhi’s strained relationship with her affluent, status-conscious parents, and the largely unexplained motivations driving Ankita Chauhan.

Nevertheless, Lost does successfully present some noteworthy moments, particularly when Vidhi provides emotional support to Ishan’s sister Namita, shares her own marital struggles, and reflects on how her boyfriend Jeet, like her parents, seems dismissive of lower-caste hardships while also exploring her own intentions.

“Ek Dalit ladka ja ke Maoist ban gaya, it’s not Earth-shattering, it happens all the time,” remarks Jeet, with Neel Bhoopalam adopting a posh South-Bombay accent for greater impact. Oddly, this scene encapsulates the film’s core message, revealing how people tend to opt for the simplest interpretation and often resist examining differing perspectives or digging deeper for the truth.

Sadly, Lost suffers from an overload of storylines, spending excessive time on inconsequential elements while failing to adequately clarify the characters’ motivations. The roles of Ranjan Varman and Ankita Chauhan are largely glossed over, presented merely as peripherally involved with motives to eliminate Ishan, yet their actions remain unexamined and disproportionate throughout the film.

The narrative begins to fall apart soon after the halfway point, becoming increasingly difficult to follow. Vidhi’s aimless interviews with Varman and police officials consume too much screen time, leaving Lost unable to resolve any of its intricate mysteries. The final twenty minutes feel hurried, disconnected, and completely out of step, resulting in confusion as the film concludes.

This eventually comes together in a message that, while commendable and highly relatable, feels oddly disjointed in the context of the film due to the lack of clarity regarding its origins. It is fair to say that Lost has essentially lost its way. Although its performances, infrequent positive messages, and production quality are commendable, they cannot counterbalance its awkwardly fragmented script. Let me know in the comments if you experienced as much bewilderment as I did after watching this film.