Beporoya Review: Adrit Roy Anchors an Ambitious but Uneven Exploration of Obsessive Love

Beporoya, directed by Abhiroop Ghosh, deliberately moves away from the conventions of a straightforward romantic film. Instead of presenting love simply as a relationship between two people, the film attempts to explore how love changes through different emotional stages — from attraction and infatuation to heartbreak, obsession, anger and revenge.

The film introduces this idea through an unusual metaphor: love, according to the film’s central concept, passes through nine different stages. It is an ambitious premise for a Bengali commercial drama and gives Beporoya an identity beyond a conventional love story.

However, while the film frequently shows flashes of originality, its execution is uneven. The concept is often more interesting than the screenplay built around it.

Beporoya Story

The story follows Jay (Adrit Roy), a  Class XI student who becomes deeply attached to his classmate Rinku (Aryaa Ray).

Jay’s feelings initially resemble innocent teenage romance. As the relationship develops, however, his emotions become increasingly intense. Following rejection, Jay enters a darker phase of emotional instability, moving from romantic idealism towards self-destruction, anger and eventually revenge.

The film uses several recognisable romantic archetypes in shaping Jay. At times he resembles a traditional Romeo-like lover; at other moments his emotional collapse recalls the Devdas tradition. Eventually, he adopts a more aggressive commercial-hero persona.

The idea of mapping these different emotional states through nine stages of love is interesting. The difficulty lies in making every transformation feel psychologically convincing.

Beporoya Screenplay

The screenplay is arguably both the film’s biggest strength and its biggest weakness.

There are several interesting ideas at work. The nine-stage structure gives the narrative a distinctive framework, while the introduction of The Lang Club in the second half is an unusual attempt to expand the story beyond the central romance.

However, the screenplay does not always explore its strongest ideas deeply enough. Jay’s transition from heartbreak to anger and revenge sometimes feels too abrupt.

Rinku’s perspective is another missed opportunity. Her rejection of Jay is connected to her conservative father and her desire for personal space, but the film does not spend enough time exploring her emotional reasoning.

As a result, the audience understands Jay’s obsession much more clearly than Rinku’s emotional position.

Direction

Abhiroop Ghosh deserves credit for attempting to give a familiar romantic premise a different structure.

Beporoya combines romance, comedy, melodrama, music and darker emotional territory within a commercial framework. The director also allows the protagonist to move through several different cinematic identities rather than keeping him as a conventional romantic hero.

The ambition is evident, but the execution is not always equally controlled. Some dramatic scenes lean heavily into melodrama, while the transitions between comedy, romance and darker material can feel abrupt.

Adrit Roy’s Performance

Adrit Roy is the film’s strongest emotional anchor.

Jay goes through several dramatically different phases, and Adrit commits himself fully to each one. He moves from an innocent teenager to a romantic obsessive, a heartbroken young man and eventually a more aggressive personality.

His performance is deliberately dramatic, matching the film’s commercial tone. The songs and dance sequences also allow him to present a tougher and more energetic screen image.

The limitation is less about Adrit’s commitment and more about the screenplay. Some of Jay’s transformations require more psychological development than the script provides.

Aryaa Ray’s Performance

Aryaa Ray is effective in the romantic sequences, particularly during the Dubai beach and shoreline portions.

She handles the physicality of the songs comfortably, and the cinematography adds to the visual appeal of these sequences.

However, Rinku remains comparatively underwritten. The audience learns considerably more about Jay’s feelings towards her than about her own emotional world.

A deeper exploration of Rinku could have added considerably more complexity to the film’s examination of love and obsession.

Supporting Cast

Shantilal Mukhopadhyay, playing Rinku’s father, brings considerable energy to the film’s comic portions.

His straightforward personality provides several lighter moments and helps maintain the commercial tone of the narrative.

The supporting performances generally fit the film, although some characters remain more functional than fully developed.

Comedy

Comedy is an important component of Beporoya, especially in scenes involving Rinku’s father.

Some comic situations work well and provide relief from the film’s heavier emotional material. Others feel broader and more formulaic.

The constant movement between comedy, romance and darker drama occasionally affects the film’s tonal consistency.

Music

Music is one of Beporoya‘s more pleasing elements.

Arindam Chattopadhyay’s compositions complement Jay’s emotional journey, particularly through songs such as “Bhule Jao Na Please…” and “Tumi Ki Jano Achi Ami Kemon…”.

The rock-influenced treatment adds youthful energy, while the dance sequences give Adrit Roy an opportunity to showcase a different side of his screen persona.

Cinematography

Shubdeep Naskar’s cinematography gives the film a polished commercial appearance.

The outdoor locations are captured attractively, while the Dubai portions provide some of the film’s strongest visual moments.

The beach and shoreline imagery works particularly well during the romantic portions and adds visual scale to the film.

Editing & Pacing

The film is more energetic during its earlier portions, but the pacing becomes increasingly uneven as the story progresses.

The introduction of The Lang Club, additional comic material and the extended exploration of Jay’s emotional deterioration slow the narrative at points when the central conflict should ideally be gaining momentum.

A tighter edit could have made the second half more focused and emotionally effective.

What Works

What Doesn’t Work

Beporoya Ending Explained

The film’s ending is deliberately ambiguous rather than completely conventional.

Instead of providing a straightforward resolution to every emotional question, Beporoya leaves room for interpretation. This approach fits the film’s larger interest in love, obsession and emotional transformation.

The ambiguity also gives the audience something to think about after the film ends rather than simply closing the story with a predictable romantic resolution.

Should You Watch Beporoya?