Holy Curse (2025)

-Written by Kyle Bain.

Holy Curse follows Radha (Mrunal Kashid), an eleven year old struggling with their gender identity. When they arrive in India for a trip, they soon learn that their family has plans to expel a potential curse from their life, hoping to fix what they view as a problem. Holy Curse is a journey of identity, self-understanding, and self-preservation. 

This is a short, but seemingly apt venture into the struggles faced by the trans community. Tackling a topic that I effectively know nothing about, Writer-Director Snigdha Kapoor attempts to be direct, while infusing subtle comedy into her film. The drama is clear, playing a prominent role in Kapoor’s film–but the comedy is what allows the film to remain grounded and more accessible to a wider audience. The infusion of relatively simplistic comedy stems from a troubled and strained relationship between Radha and their cousin. That comedy is slightly immature, and intentionally so, as it reflects the typical tiffs that exist among young friends and family members–particularly in such a trying time in their lives. Holy Curse is most effective in its use of comedy–working to bridge the gap between viewers and an objectively unique situation. 

Furthermore, Kapoor’s film is simplistic in its approach toward developing a score. The score, much like the aforementioned comedy, is typical, accessible, and honest. I do wish that there were moments of symphonic grandeur present in Holy Curse, rather than the typical orchestral notes that one might hear in hundreds, if not thousands, of other films–but I feel that it works nevertheless. At its core, the score is fun, energetic, and an effective mirror to the comedy that is strewn throughout Holy Curse. 

I appreciate Kapoor’s use of the set to express Radha’s continued struggles with their family. There are moments in which the set is intimate, juxtaposing the disconnect between Radha and their family. Then there are moments in which Radha finds themselves present within a vast landscape that is far less intimate, but presents Radha the opportunity to truly express themselves, becoming the truest version of themselves. During the moments in which Radha finds themself immersed in those vast landscapes, viewers become privy to the most intimate pieces of the film’s protagonist. We understand what haunts Radha, what they crave in life, and, again, Holy Curse utilizes the sets to develop a connection between viewers and Radha through a variety of mirroring and juxtaposing techniques. 

In a world where the trans community is becoming more frequently represented in film, sometimes in a forceful and inorganic way, Holy Curse approaches the topic differently than many of the films that have come before. Kapoor doesn’t settle for aggression or shock value, but rather looks to use her filmmaking chops to deliver a sound and far-reaching narrative. Added depth comes from the comedy, the set design, and the continued development between Radha and their cousin. While the title of the film may express sentiments of magical realism or fantasy altogether, Holy Curse is a grounded film that touches on a series of necessary and immersive points throughout. 

Written & Directed by Snigdha Kapoor. 

Starring Mrunal Kashid, Anup Soni, Adithi Kalkunte, Shardul Bhardwaj, Prayrak Mehta, etc. 

7.5/10 = WORTH RENTING OR BUYING