Tehran Movie Review: John Abraham anchors a taut thriller that hits close to home
What makes Tehran sting is that it doesn't oversimplify. It takes the actual, wrenching event of the 2012 bombing of Israeli diplomats in India and uses it not only as the catalyst for a thriller, but as a prism to examine the complexity of international politics and individual loss. The explosion that sets the story in motion is terrifying, but it's the death of a flower-seller girl — someone known personally to the protagonist — that gives the film its heart.
John Abraham takes on the role of DCP Rajeev Kumar, a cop with the Delhi Police's Special Cell, and it's one of his most inward performances in years. No slow-motion walkaways from blasts here. There is a man frayed at the edges by loss and aggravation, saying little and carrying much. John doesn't portray Rajeev as a hero — he portrays him as a human being getting gradually cornered.
Where the film really cuts its teeth is in the script by Ritesh Shah, Ashish P. Verma, and Bindni Karia. The script resists the temptation to cast heroes and villains too hastily. We have layered characters instead, and nuanced dialogue, and a portrayal of India's diplomatic tightrope that doesn't feel dumbed down. It's a movie that takes it for granted that the audience is clever — and bless it, never patronizes us.
Neeru Bajwa lends stability and nuance to Sheilaja, the diplomat on the tightrope of international politics. She's serene, composed, and subtly strong. Manushi Chhillar has a cameo and makes an impact as SI Divya Rana, particularly when the plot takes an unexpected turn. Hadi Khajanpour's act of suspected terrorist Asraf Khan is devoid of melodrama — he's contained and unnerving, which makes him even more credible.
Visually, Tehran doesn't try to dazzle — and that works in its favour. Cinematographers Ievgen Gubrebko and Andre Menezes give us contrasting worlds: the chaos of Delhi and the icy detachment of Abu Dhabi. These backdrops serve the characters rather than upstaging them. Ketan Sodha's music complements this tone — brooding and minimal — while Akshara Prabhakar's editing keeps the pacing just tight enough, never letting the story drag or sprint.
The real turning point arrives when Rajeev, disillusioned with red tape and political indecision, goes off the grid. It's an adventurous leap — for both the character and the film — that pays off. The consequences feel personal now, the boundaries between right and wrong even fuzzier. This is where Tehran becomes not simply a terror story, but one about the burden of conscience.
Another intelligent choice by the director is the way each character, regardless of how small, is legitimate. These are not merely bodies occupying space. Their reasons, even if only partially suggested, count. Whether it's a quiet scene at Rajeev's residence or a brief exchange on the mission, nothing rings hollow. The film honours its cast the same way it honours its audience — in full.
And maybe the most significant thing Tehran does is stop without providing solace. There is no grand oratory, no tidy resolution. The world remains messy, and characters are left battered. That authenticity is uncommon. And it lingers.
Tehran isn't constructed to thrill for the thrill of it. It's constructed to make you think. To make you uncomfortable. To make you question things long after the credits roll. For viewers who are willing to venture into a thriller that offers substance over spectacle, and action over emotional dishonesty — this one is well worth your time.
Now streaming on ZEE5.
Director: Arun Gopalan
Cast: John Abraham, Manushi Chhillar, Neeru Bajwa, Hadi Khajanpour
Duration: 118 Minutes
Rating: 4
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