In 2016, three years before the abrogation of Article 370 of the Constitution that gave special status to Jammu and Kashmir, children are going missing. Whenever a white tulip appears, boys and girls disappear. Indeed, the first suspect rounded up by Deputy Superintendent of Police Ridwaan is a magician.

Ridwaan (Manav Kaul) has relocated to Baramulla with his family after a professional scandal. Ridwaan, his wife Gulnaar (Bhasha Sumbli), daughter Noorie (Arista Mehta) and son Ayaan (Rohaan Singh) move into a house in which the wooden floorboards groan, disembodied voices waft through the walls and things go bump in the night. Gulnar, Noorie and Ayaan immediately sense a supernatural presence.

Meanwhile, Ridwaan’s investigation is going nowhere, even as more children vanish. A terrorist sleeper cell is at work too, swallowing up young recruits for the freedom of Kashmir in much the same way as the mysterious spirit.

The air is thick with allegory and anger in Baramulla, produced by Aditya Dhar of Uri fame and directed by Aditya Suhas Jambhale, who directed Dhar’s production Article 370. Baramulla insets itself into the trend of social horror films that link unexplained phenomena to past trauma, while also borrowing from djinn lore.

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