Karan Tejpal’s ‘Stolen’ is an unsettling thriller about a baby’s kidnapping that spirals into a terrifying journey through mob paranoia, class divides, and human desperation. Screengrab Via YouTube
Please do not watch ‘Stolen’ alone if you have a fragile heart. It is raw, disturbing, and sometimes unbearable. It is also the kind of cinema that lingers in your mind long after the screen turns black.
The film opens with a calm image. A mother and her infant sleep at a railway station in rural India. But the stillness does not last. Within minutes, the baby is gone, snatched away in front of our eyes. That theft sets the tone for what is to follow. Chaos replaces calm. We are introduced to two urban brothers, Gautam (Abhishek Banerjee) and Raman (Shubham), who happen to witness the kidnapping. Guided by conscience more than practicality, they help the distraught mother Jhumpa (Mia Maelzer). What unfolds is a relentless, painful journey through rural India where danger lurks in every corner and trust is a rare commodity.
At its core, Karan Tejpal’s ‘Stolen’ is a simple story: a baby is kidnapped, and people try to get her back. But Tejpal’s storytelling ensures that simplicity never turns into predictability. Every scene carries suspense. You constantly ask yourself, “What will happen next?” The uncertainty is exhausting, but it keeps you hooked. The brothers, initially reluctant, are sucked deeper into the nightmare. Their relationship fractures and heals repeatedly.
The most chilling aspect of ‘Stolen’ is its grounding in reality. The film is inspired by the 2018 lynching in Assam’s Karbi Anglong district, where a mob brutally killed two men because of WhatsApp rumors about child trafficking. Knowing this, every chase, every slap, and every mob scene feels heavier. You are reminded that this is not just fiction but a mirror to the violent paranoia that exists in society.
Abhishek Banerjee shines as Gautam. His transformation from a privileged, detached man to someone broken by violence and guilt is striking. Banerjee has made a name for himself with supporting roles in comedies and thrillers such as ‘Stree’, and ‘Stree 2’, but here he carries the film with a depth we have rarely seen from him. Shubham as Raman provides a solid counterbalance, the calmer sibling who often has to steady his brother’s impulses. Together, they portray a believable sibling dynamic where love and resentment coexist.
Mia Maelzer as Jhumpa is perhaps the emotional heart of the story. Her performance is unpolished in the best way possible. Her fear, anger, and despair feel so authentic that it is painful to watch. Through her, the audience feels the helplessness of a mother in a society that dismisses the poor.
Tejpal uses minimal background music, allowing natural sounds to dominate. This choice creates an unsettling atmosphere where silence feels threatening. Long takes and tight close-ups trap the audience in the characters’ fear. The scene where the brothers’ car is surrounded by a furious mob, with people hitting the vehicle, is unforgettable. It is shot with such urgency that you almost feel the glass breaking against your own skin.
Cinematographer Santosh Radhakrishnan captures the rural town in a way that is both beautiful and threatening. The wide desert landscapes seem endless, yet there is no escape.
Beyond the surface thriller, ‘Stolen’ is also a commentary on class, privilege, and mob mentality. The contrast between the educated, urban brothers and the poor, illiterate mother is striking. The police, too, treat them differently. The film subtly exposes how institutions respond to victims based on class. Jhumpa’s cries are dismissed as hysteria, while Gautam and Raman are given more credibility.
The mob violence in the film feels like an antagonist character in itself. Tejpal shows how quickly misinformation can fuel violence, how one rumour can cost lives. This theme is not only Indian but global, reflecting a world where fake news spreads faster than truth.
As gripping as ‘Stolen’ is, it is not flawless. Some critics have pointed out that the screenplay is uneven, and I agree. The run time feels a bit short. The movie ends quickly. The ending, though satisfying in its reunion, feels rushed. After so much buildup, the resolution arrives a bit too conveniently. Still, this does not undermine the impact of the journey.
Despite its imperfections, ‘Stolen’ works because it is both personal and political. On one hand, it is the story of a mother searching for her child. On the other hand, it is about a society fractured by inequality, mistrust, and violence. Tejpal refuses to give us neat heroes. Gautam is flawed, often selfish, and sometimes even unlikable. But that is precisely what makes him believable.
Watching ‘Stolen’ is an uncomfortable experience. It is supposed to be. It unsettles the mind and leaves you with nightmares. But it also makes you think about our world and the dangers of unchecked rumours and blind rage.
This is an underdog film that deserves to be celebrated.
Stolen
Director: Karan Tejpal
Cast: Mia Maelzer, Abhishek Banerje, Shubham Vardhan
Sanskriti Pokharel, a former reporter and sub-editor at the Post, is a final-year student of Journalism, Mass Communication, and English Literature at St. Xavier's College, with experience in media, research, and communication.
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