Maargan (2025)

Maargan, directed and edited by Leo John Paul, attempts to carve a niche for itself in the increasingly popular whodunnit crime thriller space—and for the most part, it succeeds. The film brings together an intriguing premise, a compelling lead character with supernatural-like abilities, and strong performances, all wrapped in a non-linear narrative structure that keeps you on the edge of your seat. However, despite its clever twists and immersive buildup, the film falters in its final moments due to an abrupt shift in tone.

A Unique Protagonist and Promising Setup

At the heart of Maargan is Arvind, portrayed with surprising confidence by debutant Ajay Dhishan. Arvind is no ordinary crime-solver; he’s a champion swimmer gifted with an eidetic memory, allowing him to recall visual details with stunning clarity—an ability inspired by the real-life psychic Dorothy Allison, who assisted American police in several cases. This characteristic alone sets Arvind apart from the typical thriller protagonist and serves as a fascinating device to unravel the central mystery.

Vijay Antony, as expected, delivers a measured performance that adds gravity to the film, but it’s Ajay Dhishan who truly steals the spotlight. His portrayal of Arvind—troubled, gifted, and intense—gives the film its emotional and narrative anchor.

Cleverly Structured Narrative

One of the standout aspects of Maargan is its editing—unsurprising given that Leo John Paul, known for his sharp cutting style, sits in both the director’s and editor’s chairs. The film’s narrative unfolds in a non-linear fashion, jumping between timelines while gradually revealing the backstories of various characters involved in the investigation. This narrative style doesn’t just serve as a gimmick; it deepens the suspense and keeps viewers guessing.

The editing also plays a crucial role in the pacing. Despite a runtime that could have easily felt bloated, the film rarely drags, thanks to its tight scene transitions and suspenseful buildup. Right up to the final ten minutes, the audience is left guessing the identity of the serial killer—a feat few thrillers manage to pull off effectively.

The Final Reveal and Thematic Turn

The reveal of the killer is well-handled. It’s shocking, yet believable, with motivations that are intricately tied into the narrative. What elevates this twist is the way the film explores the killer’s psyche through metaphorical sequences—evoking thoughts and emotions that are both unexpected and haunting.

However, it’s after this reveal that Maargan takes an unfortunate turn. The film, until this point a gripping crime puzzle, suddenly pivots toward social commentary. While the issue raised is important and the killer’s motivations are technically coherent with this message, the tonal shift feels abrupt and jarring. The momentum built painstakingly over nearly two hours dissipates in favor of moral exposition.

This is where the film stumbles. The thriller genre thrives on tension, mystery, and resolution—not necessarily on sermonizing, no matter how noble the cause. The final act veers into melodrama, slightly diluting the impact of the otherwise solid ending.

Final Verdict

Maargan is a mostly successful experiment—a crime thriller that blends psychological intrigue with a unique protagonist and a masterful use of non-linear storytelling. Ajay Dhishan makes a striking debut, and Leo John Paul’s editorial craftsmanship shines throughout. If only the film had resisted the temptation to deliver a last-minute social message, it could have stood tall as one of the more original thrillers in recent years.

Still, Maargan is a commendable effort that deserves praise for its ambition, performances, and its ability to keep audiences genuinely guessing until the end.

Rating: ★★★★☆ (4/5)