Ghich Pich

This movie was a breath of fresh air among all the latest commercial movies .

The movie captures the family dynamics, themes of love, identity, growing up. The actors deliver outstanding performances, bringing depth and emotion to their characters. The cinematography perfectly capture the mood of each scene.

The attention to detail is commendable ,each scene just speaks the early 2000s Chandigarh. The cars , the houses the world . Everything was set right in place.

This movie covers ticked all the boxes for an amazing movie .

The movie doesn't shy away from the tough moments, but it also shows the beauty of understanding.

"Gichpich" - A Filmgoer's Review

Nonika Singh, a renowned and senior film critic for the Chandigarh Tribune, whose reviews are eagerly read by her audience, introduced Ankur Singla, the director of the film "Gichpich," screened at the Chandigarh Film Festival, as *"Chandigarh da Munda"* (a lad from Chandigarh) in an article published in the Tribune. She also wrote about his background. It was surprising to learn that a bright law graduate from the nationally acclaimed National School of Law Bengaluru, who had no direct connection to the film industry, had produced and directed this film. Therefore, my curiosity to watch the film increased, especially since no producer-director, apart from those making Punjabi films, has emerged from Chandigarh. This curiosity drew me to Jagat Cinema, where the film was screened. While going to watch the film, I had the preconceived notion that it would be an art film or an experimental film, as film festivals often screen such films. However, after watching the entire film, I realized that it was a new kind of film, transcending art films and experimental films, incorporating the nuances of art films, the realism of experimental films, and the appeal of commercial films, perhaps requiring a new classification. I was so engrossed while watching the film that I lost track of when it started and ended. From any angle or perspective, it didn't seem like the director's first film, especially considering that no one in his family has any connection to the film industry.

Talking about the film, it is set against the backdrop of Chandigarh in 2001. The director claims that it is based on true events. In essence, according to the director, it is a story of a father and son. In my opinion, it is a story of the internal conflicts within middle-class families. It portrays the conflict between two generations, between two ideologies, between the setting sun and the rising moon, a conflict that is perhaps universal and eternal. This story is equally relevant today, in 2025. The director took a significant risk by adding sensitive topics such as homosexuality and a Sikh character's decision to cut his hair to the screenplay, especially within the context of Punjab. The director deserves commendation for this, and remarkably, he has portrayed his message beautifully.

Regarding the individual characters, the scenes of the father's pressure and stress on his son for studies remind us of the suicides that occur in Kota. The mental anguish of a young son grappling with a taboo subject like homosexuality is beautifully depicted, especially when the character's mother takes her son into her arms and narrates her ordeal upon discovering her husband's homosexuality, and how she reconciled with reality and compromised to save the family.

If we turn our attention to the third story, the Sikh character's insistence on cutting his hair for his girlfriend, despite his father's rejection for social and religious reasons, and his subsequent realization of the importance of the turban at a wedding and how it positively influenced his state of mind, is all filmed very beautifully.

Speaking of performances, Satyajit Sharma, an experienced artist from the film and television industry, delivers a remarkable performance as CA Naresh Bansal. In one scene, the mere wrinkles on his forehead and the trembling of his lips convey so much without uttering a word, leaving a lasting impression. Actress Lilly Singh, who plays his wife Ashima, breathes life into the film with her facial expressions, body language, and gestures. Mia Magar, who plays Gurpreet Singh's mother, leaves an indelible mark with her understated performance, without any makeup and mostly in silence.

Geeta Aggarwal, who plays Ritu Arora, the mother of Gaurav Bansal, is a renowned theater artist and adds depth to the film with her realistic portrayal and unique style as a wife compromising with middle-class values, and her impactful dialogue delivery.

Nishan Seema's performance as Lekhpal Singh, Gurpreet's father, is adequate.

The late Nitesh Pandey's powerful performance and body language as Rakesh Arora, a homosexual father, will be remembered for a long time.

Among the three main young characters, Kabir Nanda, playing Gurpreet Singh, the Sikh boy, steals the show, especially considering this is his debut film. He delivers beautiful facial expressions. Aryan Rana, playing Gaurav Bansal, who is striving to fulfill his CA father's wishes, also gives a commendable performance. Despite this being his first film, he effectively portrays the pressure, stress, and anger on his face. Shivam Kakkar, who plays Gaurav Arora, the son of a homosexual father, deserves praise. He beautifully portrays mental and physical anguish on the silver screen. Having prior experience in the film and TV industry, such a performance was expected from him.

The twists and turns in the story were unexpected, but the director, with his astute judgment, brought tears to the audience's eyes on several occasions, which cannot be labeled as melodrama. The director's command over his subject and directorial prowess made many scenes emotionally resonant.

The director also deserves praise for selecting Sangeeta Gupta, a renowned drama director from Chandigarh, to play the role of a school teacher, ensuring the highest level of realism in every scene.

It is true that the film is set and shot in Chandigarh, but the director has used it sparingly, perhaps only when required, even though iconic locations like the Rose Garden, Rock Garden, Sukhna Lake, and Sector 17 Market could have been memorably depicted in the film.

The music is just as much as needed. Music director Ritwik Den has provided pleasing music. Although the film is set in 2001, when music was mostly based on Indian tunes and instruments, it works well. Since the film revolves around young people, one more song could have been included, but perhaps the director didn't feel the need.

The background music aligns with the film's narrative. It is not overly dramatic or noisy. The use of the sarangi in some scenes is particularly beautiful. It seems that the background music was AI-generated.

Although there was not much scope for songs, lyricist Shaili has written good songs.

Sukhan Sar Singh's cinematography is good, but the film's visual appeal could have been enhanced further with the use of high-definition lenses.

Upon close observation, it is evident that the director has filmed the movie in very short shots, that is, scenes of very short duration. There is hardly any shot longer than a minute, but this experiment has been skillfully edited by film editor Syed Mubashir Ali, creating a new cinematic experience. It reminds one of the song "Roop Tera Mastana" from the film "Aradhana," released 57 years ago, in which the renowned producer-director Shakti Samanta filmed the entire song in a single shot. That was also a unique experiment that was widely appreciated, and in "Gichpitch," the skillful editing of short scenes has created a new and effective cinematic experiment, which is commendable.

By creating a story without elements considered essential for the commercial success of today's films, such as abusive dialogues, fight scenes, unnecessarily prolonged love stories, or explicit content, the director has proven that a successful film can be made with a well-written screenplay and a director's command and vision.

One anomaly was noticeable in the film. The music played on the dholak with the band in the wedding scene is Western, which doesn't match the scene. However, this is a minor issue.

In my opinion, this film is entirely the director's, in which he has succeeded to a 90% extent. Just as Eklavya gained fame in archery by considering Dronacharya his guru, I believe that the director has paid homage to the late Nitesh Pandey, whom he considers his guru, which is extremely appropriate and relevant.

The film's final scene, in which Bansal's son leaves for Delhi by bus and the radio announces his arrival, somewhat evokes the films of the old renowned director Hrishikesh Mukherjee or the contemporary H. K. Irani.

Most importantly, by making a film on three true stories, the director has not only presented the reality of society but has also beautifully shown the solutions to problems with maturity and positivity.

The film's ending, where the three young characters, having learned from their life experiences, overcome their internal struggles, accept reality, and achieve success, is also commendable. Especially the display of a board at Gaurav Arora's eyewear shop offering a "20% discount to the LGBTQ+ community." In the old days, Kishore Kumar used to be the lyricist, music director, story writer, screenwriter, producer, and director of his films. Today, he is remembered as Ankur Singla, the producer, director, writer, and screenwriter of this film, is also repeating history.

It is true that filmmaking is a collective effort, with contributions from everyone. Yet, this film is primarily the director's. The director deserves praise. It doesn't seem like his first film, especially for a director who and whose family has no connection to the film industry.

If this film is shown at any national or international film festival, it would not be surprising. In such a scenario, it would be a true recognition of a young director's first endeavor. In the film's credits, the producer-director has dedicated this film to his parents, for which Ankur Singla deserves praise and congratulations.

I give this film a rating of 8.5/10.

"Ghich Pich" is not just another father-son story but it takes one on a heartfelt yet emotional journey .

What makes this film impeccable is it's stellar performances by young actors. A standout performance by "Aryan Rana" is something that can't be missed. Having an effortless command on his craft, Aryan infuses his character with both vulnerability and strength. His emotional range, nuanced expressions, and deep understanding of the character's arc elevate the film. He doesn't just play a role-he lives it. Every glance, hesitation, and moment of silence carries meaning. There's an authenticity in his portrayal that pulls the audience in, making it impossible to look away Seeing this young talent one thing is certain the future of hindi film industry is in safe hands .

The direction of the film is another cornerstone of its success. The filmmaker shows a deep understanding of the emotional undercurrents of the story without ever allowing the film to tip into melodrama. There's a deliberate pacing to the narrative that mirrors the emotional journey of its characters. Each scene is meticulously crafted to serve a purpose-nothing is wasted, nothing feels overdone. This kind of restraint is rare, especially in a genre that often relies heavily on sentimentality. Instead, the director allows emotions to flow organically, trusting the audience to feel rather than forcing reactions. This trust between filmmaker and viewer elevates the overall impact of the story.

Visually, "Ghich Pich" is stunning. The cinematography deserves special praise for how it captures the intimacy of small, everyday moments. Whether it's the soft lighting of a family dinner or the use of natural landscapes to reflect internal turmoil, every frame feels intentional and poetic. The camerawork doesn't just capture action-it conveys emotion. Close-ups are used sparingly but effectively, while the use of ambient light creates an immersive atmosphere that mirrors the emotional tone of the scene. It's clear that the cinematographer worked in close collaboration with the director to create a visual language that enhances the narrative rather than distracting from it.

The sound design and background score also play a pivotal role in heightening the film's emotional texture. The use of ambient sounds and a subtle score ensures that the music never overwhelms the moment but instead complements it beautifully. There's an understated elegance in how music is employed-it knows when to speak and when to be silent, allowing moments of quietude to resonate even more deeply.

Editing, too, deserves a mention. The film is tightly paced, yet it breathes where it needs to. Transitions are seamless, allowing the narrative to flow smoothly while also maintaining the emotional gravity of key moments. The rhythm of the film feels almost musical, a testament to a well-thought-out editing process that respects the integrity of the story and the performances.

In conclusion, "Ghich Pich" is more than a film-it's an experience. It doesn't rely on gimmicks or overwrought sentimentality. Instead, it trusts its actors, its visuals, and its audience. The stellar performances combined with its assured direction, thoughtful cinematography, and impeccable technical execution, the film becomes something truly special. It's the kind of cinematic journey that stays with you long after the credits roll-a once-in-a-lifetime experience that reminds us why we fall in love with films in the first place.

• Kabir Singh Bedi.

It is a brilliant movie in all respects....

The intersecting story-lines around three protagonists are very well written and relatable. The film portrays inter generational dynamics and how the power play impacts lives of adolescents. An issue that has always been close to my heart.

Every scene is tightly scripted and very well executed. While all the actors have done a superb job, the three protagonists are excellent. Shifting of scenes is rhythmic...loved the way it's been edited.

The film was great fun to watch, it was a gripping watch. Every moment of it. It was full of twists and turns between emotionally heavy scenes and lighthearted spontaneous humor. .

What's more it was true real and hence believable. Every moment of it. It felt like I was living every moment of the film.

It's a must watch! It's award worthy! For me, it's a rare re- watch!

Ghich Pich is one of those rare films that sneaks up on you. It doesn't announce itself with grand declarations or flashy visuals-instead, it gently pulls you in and holds you close, hitting you right in the feels when you least expect it. By the time the credits roll, you're left smiling, maybe a little misty-eyed, and definitely thinking about your own relationships. In short, it's the kind of film that stays with you-not like a heavy thought, but like a warm, comforting hug you didn't know you needed.

Set in the bustling, vibrant city of Chandigarh, Ghich Pich captures the heartbeat of middle-class life with refreshing honesty. It doesn't romanticize or dramatize-it simply observes. From crowded living rooms and scooter rides to awkward dinners and shared silences, the film builds its world through the texture of everyday life. And it's within this familiar setting that the film unfolds a beautifully layered story of friendship, family, and growing up.

At the center of it all is the friendship between Gaurav, Gurpreet, and Anurag-a chaotic, hilarious, and deeply relatable trio. Their dynamic feels incredibly authentic, reminding you of those reckless teenage days where every bad decision felt like a rite of passage. Whether they're messing around, fighting, or supporting each other in the most unexpected ways, their bond is the heart of the film. Watching them is like flipping through an old group chat or stumbling upon a photo from high school-you can't help but smile, even if it stings a little.

But what really makes Ghich Pich stand out is its nuanced and emotionally rich exploration of father-son relationships. Each storyline feels distinct, and yet they're all tied together by a quiet, universal ache-the desire to be seen and understood by the people who raised us.

There's the overbearing father who wants the best for his son, but whose love comes across as pressure. The son in that dynamic is constantly caught between trying to live up to expectations and wanting to find his own path. Then there's the boy struggling with his identity, silently carrying the weight of who he is while his father remains oblivious, lost in his own world. And finally, perhaps the most affecting of all, is the son who slowly unravels a truth about his father-something deeply personal and long buried. These aren't dramatic plot twists or grand confrontations; they're moments handled with quiet restraint, making them all the more powerful.

The film moves effortlessly between tones-one moment you're laughing at the absurdity of teen antics, and the next, you're caught off guard by a line of dialogue or a look that says everything. It's this balance of humor, heart, and nostalgia that makes Ghich Pich so special. The emotional beats never feel forced, and the funny moments never undercut the seriousness-they complement each other, just like in real life.

Director Ankur Singla deserves credit for his thoughtful storytelling and subtle direction. He never overexplains or rushes the narrative. Instead, he allows the characters to breathe and the moments to unfold organically. The performances are understated and deeply sincere, grounding the story in reality. No one's putting on a show here-it all just feels real.

At its core, Ghich Pich is a love letter to the messy, imperfect relationships that shape us-our friendships, our families, and everything in between. It reminds us that even in the confusion, the silence, and the chaos, there is connection. There is love.

It's the kind of film you want to watch again-not just to relive the story, but to feel that warmth one more time.