Despite the overwhelming heaviness, and frankly a cop-out ending, the film is powered by its performances.

Rukh has its own narrative technique. To categorise Rukh as an art-house film would be an injustice to Atanu Mukherjee’s talent. It’s a ‘different’ film, for the want of a better word.

Rukh may be lit like a YouTube Short Film and may have its share of other technical problems, but there’s something disturbingly original about director Atanu Mukherjee’s vision

Rukh is not your usual Bollywood thriller, it has subtexts, every scene defines something. It requires only your patience and nothing else. Go for it only if you can keep your phones aside for the entire film and sell yourself to it.

If there is any stance of this writer that he found challenged was that films do not need aggressive promotional campaigns to make a mark. All a powerful film needs is a good first impression through the trailer, which packs in a substantial chunk of the story, and the ability to tell much more which surprises the audience who choose to give it a chance.

Overall, despite a few blemishes, Rukh is a film that keeps you riveted.