The entire film is a series of eye-roll moments, pockmarked by dialogue that’s unintentionally hilarious. We don’t really have to wait for the big reveal to see the purpose of the film.

By eschewing the tenets of effective filmmaking, The Tashkent Files fails to get both, the fact and fiction right.

Actors known to be unfailingly effective find themselves being placed on slippery ground as they struggle with their lines of pick-axe bravado.

The Tashkent Files makes some shocking claims about India’s political history, dynasty politics and the citizen’s right to know the truth. All its sensational content is relevant and important social issues are highlighted, too. But, the storytelling effort is half-baked and lacks the finesse that such a heavy-duty film requires. It also doesn’t help that the final slide of the movie tells the audience that the authenticity of all the facts displayed in the film cannot be verified.

Overall, with aggressive pacing, the film is well-researched and potent in nature. But with the timing of its release and the undertones in its messaging, this film appears to be a propaganda film that neither ignites any patriotic fervour nor journalistic appeal.

Set against the backdrop of one of the most contentious periods in modern Indian history, created at a time when the fervour against fake news is louder than ever before, the makers had plenty of source material to create a genuinely thought-provoking film. This is what makes the movie’s lack of self-awareness even more jarring. The entire exercise is a completely wasted opportunity.