Chhorii 2 trailer: Soha Ali Khan is a ‘daasi’ out to kill, joins forces with Nushrrat Bharuccha in Vishal Furia’s horror sequel | Bollywood News
Director Vishal Furia delivered scares and chills in abundance four years ago with his horror film Chhorii, starring Nushrrat Bharuccha in the lead role. The film, which released directly on Prime Video India, is all set for a sequel, Chhorii 2, which will release on the platform on April 11. The makers released the film’s trailer on Thursday; it features a returning Nushrrat along with the franchise’s new entrant, Soha Ali Khan.
Chhorii 2 is set seven years after the first part. Sakshi’s daughter, Ishani, has a rare condition that compels her to stay in darkness, as sunlight can be fatal. The trailer starts with a mother narrating a folk tale to her daughter: A king is livid that he becomes the father to a daughter instead of a son. So he gets his loyal daasi (slave) to get rid of her. The daasi is revealed to be Soha, who looks unrecognizable under a black cloak, with prosthetics and CGI eyes intact.
The daasi strikes back in the contemporary setting, chasing the little daughter of Sakshi (Nushrrat) in a village. As Sakshi begs for her daughter to be saved, the villagers don’t support her either, arguing that they’re just following their traditions and customs. At the end of the trailer, it’s hinted that the daasi also brings back her master, the king, to the present era, making matters worse for Sakshi and her daughter.
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Chhorii 2 is written Vishal Furia and Ajit Jagtap. It’s co-produced Bhushan Kumar and Krishan Kumar’s T-Series and Vikram Malhotra-led Abundantia Entertainment. The first part was based on Vishal Furia’s 2016 Marathi directorial Lapachhapi, starring Pooja Sawant and Vikram Gaikwad.
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The Indian Express review of the first part stated, “Director Vishal Furia establishes the film’s admittedly detailed lore in the laziest possible manner— having the aunty narrate it to a sedated Sakshi—while the film intermittently cuts to flashbacks. It’s an inelegant, overly verbose approach that completely ignores one of the central tenets of filmmaking: show, don’t tell.”
