Mala Review: A Decent Ancient Tantric Film!

Certain indie films reveal their constraints right away, whereas others pleasantly shock you with how much they achieve on a modest budget. Mala, written by Nisha Sabharwal and directed by Trishul Thejasvi, belongs firmly to the latter category. Having watched Curry Scent from the same writer and production house more than a year ago, I was particularly interested in seeing how far they had come. And the difference is quite noticeable. From the writing and direction to the visuals and performances, Mala feels like a substantial step forward and, more importantly, a film with considerably greater ambition.

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The visual presentation is probably the first thing that makes that ambition apparent. The entire film is set around a secluded island resort, giving cinematographer Ronan Tatassore plenty to work with. The beaches, greenery, surrounding landscape and isolation of the location are captured beautifully, creating a contrast between the tropical beauty and the increasingly unsettling atmosphere. The resort itself is also thoughtfully designed, particularly when the story moves deeper into its supernatural mythology. The various tantric rituals give the film an appropriately ominous visual identity. Considering this is an indie production, there is clearly a noticeable investment in making the world feel large, and that effort translates well onto the screen.

The premise itself is equally ambitious. Mala isn’t simply trying to be another haunted-location horror film. It builds its mythology around ancient Indian tantric traditions, a fourteen-day ritual, black magic, family history and a community that seems to be hiding something. And I liked that the film attempts to give its supernatural elements a larger cultural and narrative foundation rather than using them merely as excuses for scares. The problem, however, is that the execution doesn’t always reach the level of the setup. The film does a fairly good job establishing the island, Reema’s family connection and the mystery surrounding the rituals. But once those elements need to come together, the thriller mechanics become less effective.

The suspense could have been sustained more carefully, with stronger escalation between the revelations and a greater sense of danger as the story approaches its conclusion. The climax in particular doesn’t deliver the payoff that the buildup promises. There is clearly a much bigger film hiding inside this concept, and a sharper third act could have brought the various ideas together with more impact.

The performances are another area where I noticed the improvement from Curry Scent. Indigo Sabharwal gives Reema a convincing transformation, beginning as an introverted woman who arrives on the island seemingly disconnected from everything around her and gradually becoming more emotionally involved in the nightmare unfolding around her. There is still room for her to develop further as a performer, but the growth from her previous work is evident, and she carries the central role effectively. Gisele George, Nirvan Patnaik and Nehru Sabharwal also provide solid support as Reema’s best friends.

Ultimately, Mala is an encouraging step forward for an independent production that clearly wants to aim higher. Its tropical setting, intriguing tantric mythology, improved performances and stronger visual craftsmanship make it an engaging watch, even when the suspense and climax don’t completely deliver on the promise of the setup. Compared with Curry Scent, this feels like a considerable evolution, and if the filmmakers continue building on these improvements while tightening their screenplay and third acts, there is plenty of potential for their next project to go even further. You can now rent and stream ‘Mala (2026)’ visit Buffalo 8’s website for all the details, and follow the production house on Instagram for more updates.

‘Mala (2026)’ Rating – 3.5/5