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Mili Review: Janhvi Kapoor’s Most Impressive Performance So Far

Director : Mathukutty Xavier

Writers : Mathukutty Xavier, Noble Babu Thomas, Alfred Kurian Joseph, Ritesh Shah

Cast : Janhvi Kapoor, Manoj Pahwa, Sunny Kaushal, Anurag Arora, Sanjay Suri

Mathukutty Xavier’s Mili , the Hindi remake of his Malayalam hit Helen (2019), is reimagined in Dehradun. The premise is innovative. The night shift at a fast-food joint turns into a nightmare for a part-time employee, Mili, who gets trapped in its cold storage. With the restaurant closed till the next morning, the 24-year-old nursing graduate is in danger of freezing to death. Her struggle to stay alive is interspersed with the frantic search led by her single father and boyfriend.

As a survival thriller alone, Mili is high-pitched and mostly effective. The sound design is terrific, simulating an endless cycle of danger and dread. The dull roar of the freezer is almost imperceptible until the narrative cuts to the outside. Minutes later, this freezer feels soothing in comparison to the quiet chaos of the search. The visual transitions are smart and well-timed. A table fan in a police station looks more ominous than the shot of the giant freezer blades that precedes it; the former conveys a broken system, while the latter can, at worst, be a broken machine. The tight close-ups of the girl’s withering face are excessive, but the rhythm of the editing creates a sharp psychological pull, where the world as she knows it is reduced to the sum of her movements. In contrast, those looking for her are reduced to the tally of their thoughts.

Some of the film’s cheesy metaphors make sense, albeit in a heat-of-the-moment manner. Mili is in a ‘cold’ war with her father and boyfriend when she gets trapped. Of all the things he could have done for a living, her father sells insurance. Mili’s proximity towards a rat echoes her father’s changing attitude towards her boyfriend – a lower-caste, irresponsible but eventually misunderstood creature – on the outside. Mili’s paranoia about her father’s smoking habit finds heartbreaking circularity in the fact that every breath of hers is now visible. Mili’s situation also doubles up as a dramatic forecast of her future – she is planning to migrate to the notoriously cold Canada, alone, without her father. A shot of her in the foetal position hints at the infantilisation of her quest in the days leading up to this. It helps that Janhvi Kapoor ’s fourth author-backed role of a short career is perhaps her most impressive so far. As was the case with Gunjan Saxena: The Kargil Girl (2020), Kapoor’s disarming ambition to be a better actor mirrors Mili’s desire to respect her own privilege – and sheltered childhood – without being defined by it. In her hands, Mili becomes someone who is learning to speak English not to break free or transcend her setting; it is to nourish her roots further by acquiring newer languages of loving and caring. Her independence is almost incidental; she doesn’t want to escape her cocoon so much as expand it.

Not everything works, though. Xavier milks the genre for all its worth. The girl’s physical journey, for instance, borders on torture porn. A dislocated ankle, a torn elbow and frostbitten cheeks make her portions a harrowing watch. It feels a tad exploitative, not too different from assault sequences that derive meaning from the suffering of the female body. The film-making dials up the Nineties’ villainy of the bad cop character (Anurag Arora); his staging is too obvious. And while the good cop is a winning idea on paper, Sanjay Suri plays him with the quasi-comical stuffiness of a drill sergeant. The writing replaces the religious context of Helen , but fails to mine the caste consciousness of Uttarakhand. Some of the suspense devices, too, are designed purely to toy with the viewers. Like A.R. Rahman ’s overarching background score. Like the flowery flashbacks. Like cell phones running out of battery at inopportune moments; or the one character who’s figured out Mili’s location having an accident. Or most of all, like the star cameo that instantly pulls us out of the (true) story. A lot of it is sensory button-pushing, aimed at ratcheting up the pressure by hook or crook – but at what cost?

The essence of Mili , however, has little to do with its status as a survival thriller. At its core, the film is a slow-burning sociocultural drama. Mili – meaning “found” in Hindi, but also “virtuous” in Hebrew – is a girl defined by her virtues. She pursues nursing abroad to pay off the debts of her middle-class father (a moving Manoj Pahwa). She urges him to be more health-conscious. She wants her boyfriend, Sameer (Sunny Kaushal), to stop slacking and get a job so that she can proudly introduce him to her father. She is the only one who notices – and acknowledges – the mall security guard every morning. She even stops to pray at a temple after her shift every night. But the lurking wolves – a chauvinistic policeman and manager, a creepy auto driver – test Mili’s naivete, forcing her to resemble a new-age Red Riding Hood in her restaurant uniform. By the time she’s trapped behind a metal door in sub-zero temperatures with chunks of meat for company, the life-or-death crisis pales in comparison to the crisis of morality on the outside. You want her to be rescued because she’s human, but you also want her to be enclosed in this ‘safe’ space a little longer because she’s a woman.

The murky relationship between morality and gender shapes the central conflict of the story. The reason most movies with stranded protagonists don’t zoom out from their survival dynamic is because the world seldom realizes – or has the time to realize – their absence. If it’s a man, as it so often is, at best he’s had an accident and at worst he’s dead. But when a young woman goes missing in a country like India, her character is the first thing that’s brought into focus. When Mili doesn’t return home, on one hand it’s her chaste nature – that unerring routine, her inability to deviate from schedule – that compels her father to start searching in an hour. He insists that, no matter how upset she is, she would never “do such a thing” – a phrase that implies either self-harm or toxic influence. On the other hand, he attacks her boyfriend, convinced that he has something to do with her disappearance. For a while, he is no different from the cop who crudely raises questions about her ‘affair', the manager who taunts her or the self-righteous neighbour who fears for her mental balance.

I’m on the fence about sticking Mili in a freezer to cure the gaze of the men who surround her. An idealistic way to approach this is to ask: Why punish a woman to reform the patriarchy she resists? Mili’s brutal battle becomes a character certificate to her father, who mistook her courage to live as a sign of moral rebellion. At some level, the prospect of his daughter being stuck in an elevator or cold store is considerably less troubling than other scenarios. In terms of the film’s simplistic reading of tradition versus youth, it’s a bit like watching Dilwale Dulhania Le Jayenge ’s Chaudhary Baldev Singh joining forces with the rakish Raj to look for Simran (who’s probably trapped on a train in a deserted rail yard). Sameer even rocks a similar monologue about how Mili would never betray her sanskari upbringing.

But the pragmatic way to approach this is to admit: It is invariably the woman who sacrifices herself to unite her loved ones. Our emotional investment depends on whether we expect a film to reflect a reality or revise a truth. The difference is that Mili reclaims the agency – and moral identity – of tragedy. Acting on her own terms would have involved the choice to get provoked by the people that weaken her. But by being a survival thriller about a girl who is accidentally trapped due to the careless actions of men, the film proves the world wrong about her. And by fetishizing her battle – against all odds, luck, chance, fate – Mili frees its protagonist from the chilling box she’s confined to. After all, it’s not Mili and Helen who need to be found; it’s the perpetual search for their virtue that needs to be lost.

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Mili movie review: Janhvi Kapoor's survival thriller has a warm heart, chilling race against time

Mili movie review: janhvi kapoor plays the perfect girl from dehradun who gets locked in a freezer overnight even as his family looks for her..

Mili movie review:

Janhvi Kapoor has aced the art of selecting the right movies so early in her career. She has so far led a host of films that are simple in scope, but well made, and absolutely watchable. Same cannot be said about most of her peers and even a few seniors, who are still playing accessories to rowdy heroes and third fiddles in multi-starrers. Meanwhile, Janhvi is keeping busy minting a genre of her own: the girl next door who gets caught up in difficult jobs (Gunjan Saxena: The Kargil Girl, Good Luck Jerry, Ghost Stories) or difficult situations (Roohi, Mili). The latest in the order is Mathukutty Xavier's Mili, a thoroughly entertaining albeit simple remake of Malayalam film Helen, and inspired by the real story of a girl who gets locked in a freezer. (Also read: Double XL movie review: Sonakshi Sinha, Huma Qureshi star in an empty, exhausting lecture masquerading as a movie )

Janhvi plays Mili, with a BSc in nursing and dreams of working in Canada someday. She is the ideal daughter to her dad (played by the ever dependable Manoj Pahwa), chasing after him and his cigarettes when not licking through her IELTS books, romancing her boyfriend (played by the sweet and charming Sunny Kaushal) or working night shifts at a local burger joint. The first 30 minutes are spent on establishing Mili as the perfect girl who smiles at mall watchmen and visits temples daily. While it did seem a bit too sugary to digest, you mostly forget it once the latch to the freezer closes and the survival drama kicks in. And later, like a good, tightly written thriller, all the smiling and temple-hopping are shown to have had a purpose all along. Despite the delayed arrival of real, meaty action, Xavier doesn't seem to have wasted any frame on frivolous pursuits. The romance is given just ample room and so is the father-daughter relationship: enough to let it hurt when Pahwa breaks into tears at the fear of losing his daughter.

The scenes inside the freezer are even better. A massive fan looms large in the centre of the room, booming loudly and instilling the same dread as a monster baring its teeth in front of its prey. The entire geography or full length and breadth of the room are never shown, inspiring more confusion. The cold white tubelights are anyway one of the most depressing elements created by man and the icy winds help further in setting the mood for some literal chills.

As time progresses, so does Janhvi's excellent Smurfette-inspired makeup. Her blood vessels pop through her face, that become deep dark blue by the end. The injuries, the broken bones, the peeling skin are all enough to make you wince and sometimes, even scream along with her. And what was most important is that Janhvi doesn't overdo it with the 'brrrs' and 'ssshhhhs'. Her performance is contained and still throughly believable as she finds different ways to survive inside the freezer, fails and tries again. It is perhaps just in the initial scenes where she is preparing for IELTS and even her ‘gadbad’ English feels too perfectly messed up to be authentic. She can apparently speak perfectly well with foreigners in English but needs to see a book about how a cup cannot sit ‘in’ the table.

But all of this is easily and quickly ignored for the room you are asked to make for the warmth of Mili. Inside the freezer, Mili finds her own 'Wilson', in a rat she mistakenly let into the freezer the previous day. The two become buddies and pin it on some exceptional acting from the rat but it's all truly heartwarming for us and stabilising for a plot that really needed a break from all the frantic search for the girl and her attempts to break out. There are more wholesome moments courtesy a mindful guard, a diligent cop and a divine intervention by a Bollywood star's cameo. I will not reveal more on who it is because I appreciate how for once, a cameo in a Bollywood movie isn't plastered all over social media by the producers themselves ahead of release.

Mili is a fuss free, entertaining, simple and just thrilling enough ride. Of course, it doesn't have the lure of CGI spectacles, fighter jets, flawless heroes and glamorous heroines, it still deserves a watch.

• Movie Review
• Janhvi Kapoor

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Mili Review: Janhvi Kapoor's Film Keeps The Audience Glued To The Screen

Mili review: it has its moments and a pivotal performance that demonstrates that janhvi kapoor is an actress who has the chops to carry an entire film on her shoulders..

Cast: Janhvi Kapoor, Sunny Kaushal, Manoj Pahwa

Director: Mathukutty Xavier

Rating: 3 stars (out of 5)

Considering how faithful this repeat act is, one might wonder why director Mathukutty Xavier would have spotted any value at all in helming a Hindi remake of Helen , his own critically lauded 2019 Malayalam survival drama. Mili , co-produced by Boney Kapoor, attempts no significant deviation from the original screenplay.

The setting and some key plot details have been tweaked but in essence Mili treads the path that Helen did. But despite this being the third iteration of the thriller - a Tamil version (Anbirkiniyal) came out last year - the Janhvi Kapoor starrer is a highly watchable, if not scintillating, film.

The lead actress' solid showing in the role of a nursing graduate who is inadvertently locked in a freezer and struggles to stave off hyperthermia is what holds Mili together. Members of the supporting cast, which includes Manoj Pahwa and Sunny Kaushal, are in their elements too. The writing and the acting apart, Mili benefits appreciably from its steadfast eschewal of the superfluous.

The director, working with a script adapted for Hindi movie audiences by Ritesh Shah, imparts sustained intensity and urgency to the girl's fight for survival and the despairing efforts of her father and friends to locate her. The result is a film that keeps the audience glued to the screen in spite of the fact that parts of it could have done with a tighter edit.

Mili is first and foremost a father-daughter story. Janhvi Kapoor plays Mili Naudiyal, a 24-year-old who lives with her doting single dad, Niranjan Naudiyal (Manoj Pahwa), in a quiet middle-class Dehradun neighbourhood. The girl works in a fast-food outlet in a shopping mall while she prepares for an upcoming IELTS test. Mili hopes to migrate to Canada and make a mark as a nurse there.

Niranjan and Mili cannot understandably do without each other, but the man does not stand in the way of his daughter's decision to leave him and their small town behind in search of greener pastures. Although their life seems largely uneventful, father and daughter do have a thing or two that they conceal from each other. One of the secrets has a direct bearing on how things pan out for Mili.

Niranjan smokes on the sly and has cigarettes hidden all over their home. When Mili finds out, she puts her foot down and demands that he kick the habit forthwith. The man promises never to smoke again provided he is allowed a last puff. Mili accepts the deal. They return to their daily routine.

The secret that Mili keeps from her father is far more combustive. She is in love with a jobless man, Sameer Kumar (Sunny Kaushal), who, as is implied in a couple of throwaway lines, belongs to a different caste. (In Helen, the girl is a Christian, the boy a Muslim. The religious divide is kept out of the frame here. Mili also refrains from playing up the caste angle, not that it matters in the overall context of what the film is about).

To return to the storyline, Mili intends to keep her affair with Sameer under wraps until he lands a job - a move that indirectly leads to the life-and-death crisis that befalls her. Trapped in a freezer where the temperature goes as low as -17 degrees Celsius, she stares death in the face with no likelihood of a rescue act being mounted before it is too late.

For her distraught father, finding and saving her becomes a race against time and a battle against the town's policing system. None of Mili's colleagues know where she could have gone after work. The local police station, headed by a smarmy, lethargic sub-inspector Satish Rawat (Anurag Arora), isn't particularly eager to extend any help to a troubled father and his worried neighbours.

Mili is a film executed with sustained control. It neither pulsates with crackling energy nor overflows with plot twists, but it does not waver in terms of its focus on the girl in distress and on how her disappearance impacts her father. It also does well to capture the small-town milieu without overdoing it.

Not that the film harps on it, but the protagonist has two cocoons to reckon with - her home and the town itself. Neither is obviously inimical to her - in fact, they sustain her emotionally - but she desires to break free and explore the wider world. The freezer in the fast-food joint, in a way, serves as an extreme representation of what is a physical cage for an ambitious girl reined in by her life, her environs and her circumstances.

The freezer scenes give Janhvi Kapoor the scope to go the whole distance as an actress. While the make-up comes in handy here she is impressively steady. The heroine tries everything that she can to stay alive. The situation worsens by the minute even as her own nursing skills give her a chance of survival, however slim, in life-threatening conditions that she has no way of fully controlling.

Manoj Pahwa, playing a father at the end of his tether, delivers a performance marked by striking restraint. Even when the alarm bells begin to ring and matters spiral out of control, the actor does not resort to outward methods to express the turmoil raging within in. He allows the situation to determine the performative parameters.

Sunny Kaushal, cast as the boyfriend who is in the line of fire when Mili goes missing without a trace, plays second fiddle in a film that centres squarely on the heroine. He does not let that undermine what he brings to the table. The role has sufficient meat and he makes the most of it.

Mili would have been infinitely sharper and more gripping had it been somewhat shorter. At a little over two hours, it isn't exactly an overlong film, but given the nature of the emergency that the protagonist's accidental confinement sparks - it limits the film to a closed space for the most part - some bits of it feel a touch inessential.

But all said and done, Mili is one remake that is anything but unnecessary. It has its moments and a pivotal performance that demonstrates that Janhvi Kapoor is an actress who has the chops to carry an entire film on her shoulders when she has the screenwriter on her side.

• Cast Janhvi Kapoor, Sunny Kaushal, Manoj Pahwa

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Mili Movie Review: A palpable survival drama powered by an earnest act Janhvi Kapoor

Rating: ( 2.5 / 5).

With years of experience in watching mysteries unfold on our screens, we know by now that the biggest revelations are hidden within the smallest details. Janhvi Kapoor's  Mili , the Hindi remake of Malayalam film Helen,  also follows this template. We see how in a self-centered world, even the tiniest gesture of kindness can go a long way. The film also reminds us how adults are self-absorbed in their lives, and opening up our minds for even the briefest of moments can be life-changing.  Mili briefly, but pivotally plays with these moments, to give us a peek into the bigger picture. 

Mili (Jahnvi Kapoor) is a 24-year-old nursing graduate and a part-time restaurant worker, who aspires to migrate from Dehradun to Canada for better living standards. Soon after this, we get to see a brief summary of what is going to happen. The camera angle follows an ant’s trail as it ends up falling inside an ice tray. But before this happens to Mili, we are introduced to the world she is living in. We see her attend IELTS classes, taking care of her widowed father Naudiyal (Manoj Pahwa), and her unemployed boyfriend Sameer (Sunny Kaushal). The first half has several moments that give away something that the audience can latch on to. For example, there is a scene involving Mili, her father, and Sameer, inside a theatre, where the father murmurs that he is better off watching dubbed Telugu films than watching a presumably Hindi film. Is it a nonchalant sarcastic commentary from director Mathukutty Xavier (who also helmed Helen ) on the current industry trends where South Indian films are faring better in the Northern belt? On a serious note, we also see some passing references to Sameer coming from the oppressed caste in this caste-ridden society, which Naudiyal is very much part of. The latter even asks his daughter to make friends from their “own” groups. While such commentaries are just passing references to suggest Mili’s world, one thing is made sure in the first half. The men around Mili are against her decision to migrate. Mili also lives in a society where men are in charge of protection, and we see the ingrained misogyny in police officer Satish Rawat, who is supposed to be the protector of justice. Rawat terms Mili’s relationship as an “affair” and deems her unfit to be on her own, and wants to "give" her back to the father.

Director: Mathukutty Xavier

Cast: Janhvi Kapoor, Sunny Kaushal, Manoj Pawha 

Mattukutty barely scratches all these issues before stepping into the real quest where Mili accidentally gets locked within the cold storage unit of the restaurant. Before enduring the cold temperatures of the storage unit, Mili faces the chilling realities of daily life. The second half goes into survival drama mode. Filled with tight shots of her frost bites, bruised body, Mili sometimes dangerously steps into the zone of torture porn. Yes, the close-up shots work to show the claustrophobic nature of Mili’s situation, but after a point, the constant shots of her tattered skin and scrapped arm feel a bit too much. While Janhvi single-handedly steals the show with her earnest performance,  Mili does suffer from inconsistency in trying to balance the already-troubled world of the girl and her near-death experience. It tries to unpack several things at once. Does it speak up against the perceived notions we have while othering people? Is it a commentary on a woman having her own wishes and choices in a man’s world? Is it about the growing corporate structure that exploits its labours? Or is it about Mili’s resilience to withstand the harshest temperatures, but unable to do so in the real world of complex human emotions? The film doesn't stick to a stand but offers multiple possibilities for every question without really zeroing in on a solution. And given this is Mathukutty’s second outing with the same story, we expect some gaps to be filled and take it a notch up higher than the original.

Nevertheless, Mili is backed by a powerful plot and fairly decent execution. Janhvi makes Mili come to life with her mature acting, and Sunny plays his part well. There is also an adorable rodent that wins all our hearts. While the irony of Mili, who has aspirations of moving to the harsh winds of cold Canada, getting locked in a cold storage unit, is not lost upon us, the film offers a warm reminder of her resilience to the coldest of temperatures inside the storage, and coldest of behaviours encountered in the society. Did she come out of the unit? Did she go to Canada? The answers are best found in the air-conditioned halls of a theatre.

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‘mili’ review: a potent survival thriller bolstered by a powerful performance, mili, starring janhvi kapoor in the lead, is running in theatres..

The first section of Janhvi Kapoor-starrer Mili is spent establishing a lead character who is almost too easy to root for. Mili Naudiyal, a nursing graduate, lives with her father after her mother’s untimely demise. She dreams of getting a job in Canada to secure her and her father’s future. Mili is the quintessential girl-next-door – she’s always helpful and has a ‘smile that lights up the room’. 

If you’re walking into the theatres having either watched the trailer or the original Helen, there is a sense of foreboding. Even otherwise, the use of (somewhat heavy handed) imagery and a melancholic soundtrack prepares the audience for what’s coming. 

Janhvi Kapoor in a still from Mili .

(Photo Courtesy: YouTube)

Mili , directed by Mathukutty Xavier (who also directed the powerful original), is a survival thriller about a woman stuck in a freezer in an empty mall after-hours.

Survival thrillers have a very large scope when it comes to choosing an adversary – especially when it comes to the forces of nature. Films like Life of Pi, The Revenant or The Crawl all showcase the brutality of attempting to survive when odds are stacked haphazardly, but surely, against you.

In Mili, the stakes are multiplied by an added adversary – isolation, which then translates to a lower chance of survival and limited resources.

For centuries, ‘ice’ or the ‘cold’, in literature and text, have been representative of harshness, an unforgiving entity that barely lets anything survive. There are scores of stories about plants growing through sheets of ice, touted as stories of hope and rising against all olds. 

Mili, too, is a story of tenacity and perseverance and the makers’ ability to keep the audience hooked is worth appreciating. 

Janhvi Kapoor in a still from Mili.

Even as Mili continues to devise plans and make attempts to escape her grueling reality, the film never shifts in tonality – the audience isn’t led to believe that all is well just because the protagonist is fighting, an unrealistic theme omnipresent in films filled to the brim with unrelenting machismo. 

A story of such strength needs a performance to match and Janhvi Kapoor as Mili delivers such a performance.

It is perhaps easy to ham up the tension and drama in a film like Mili but Kapoor’s performance remains restrained for the most part, making this one of the most effective roles of her career, even if some aspects of her act seem similar to the ones we’ve seen from her before. 

With little to no dialogues for a major chunk of the film, Kapoor manages to take the audience on the journey with her and in that silence, her craft truly gets a chance to come through. She is also supported by an extremely cohesive and able cast. 

Janhvi Kapoor and Manoj Pahwa in a still from Mili.

'It’s a Privilege To Be Compared to the Greatest Actor, My Mom': Janhvi Kapoor

Manoj Pahwa as Mili’s father plays his role with such conviction that it is easy to clue into his sense of urgency, desperation, and grief as a father trying to put the pieces of a puzzle together to find his daughter. Pahwa and Kapoor’s performances together manage to form a very strong emotional base for the film. 

One of Mili’ s strengths is in its music and sound design. The music is credited to AR Rahman with lyrics by Javed Akhtar.

The film’s sound design, though overbearing at times, is always effective. The decision to make inconsequential and ambient sounds louder and louder as the clock ticks by, driving the film closer to its climax, is brilliant. 

For years, humans have used the phrase ‘there’s always a light at the end of a tunnel’. The idea that a light at the end of a dark tunnel is supposed to be uplifting goes to show how susceptible humans are to the tendency to hope and view adversity and grief as a stepping stone before ‘all is well’. 

So, when it comes to survival thrillers, the audience can’t help but hope for a happy ending but that presents the makers with a challenge – when the audience steps in prepared for one of two possibilities, how do you save your film from the clutches of predictability?

The answer lies in a strong script and nail-biting moments stacked one after the other. Mili ticks those boxes. It upholsters its ambitious storytelling with a well-structured execution. The film is also an example of how camerawork and editing can work hand-in-hand to create an immersive visual experience. Sunil Karthikeyan, behind the lens, uses carefree framing in the first half, lulling the audience into the sense of safety that Mili herself is experiencing. 

When the stakes are higher, Karthikeyan shifts to claustrophobic and enigmatic close-ups, giving the audience only as much information as the makers desire. The editing by Monisha Baldava complements this endeavor beautifully, with an ample use of match cuts to keep the focus shifting from Mili’s ingenuity to her father’s despair. 

On that note, some of the film’s metaphors and emotional stakes are too heavily dramatised, owing perhaps to the medium, but these are flaws that can be looked past for the sake of the bigger picture. And what a picture that is. 

5 Survival Thrillers To Watch Before The Release of Janhvi Kapoor's 'Mili'

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• Cast & crew
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Janhvi Kapoor as a woman stuck in a freezer fighting to stay alive. 'Mili' is the official Hindi remake of the Malayalam thriller 'Helen'. Janhvi Kapoor as a woman stuck in a freezer fighting to stay alive. 'Mili' is the official Hindi remake of the Malayalam thriller 'Helen'. Janhvi Kapoor as a woman stuck in a freezer fighting to stay alive. 'Mili' is the official Hindi remake of the Malayalam thriller 'Helen'.

• Mathukutty Xavier
• Janhvi Kapoor
• Manoj Pahwa
• Sunny Kaushal
• 58 User reviews
• 15 Critic reviews
• 1 win & 5 nominations

Top cast 67

• Mili Naudiyal

• Niranjan Naudiyal

• Sameer Kumar
• School Kid Boy

• Satish Rawat

• Security Guard at Mall
• Lady Constable Hema
• Auto Driver
• Senior CCTV Guy

• Piya (Mohan's Daughter)
• (as Niharika Chowske)
• Delivery Boy
• Flower Lady at Shop
• Mili's Friend
• Anjali's Mother
• Drunk Bike Rider
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Connections Remake of Helen (2019)

User reviews 58

• AJ_McAninch
• Dec 29, 2022
• How long is Mili? Powered by Alexa
• November 4, 2022 (India)
• Bayview Projects
• Zee Studios
• See more company credits at IMDbPro

Technical specs

• Runtime 2 hours 7 minutes

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Mili movie review: Janhvi Kapoor stands out in this nail-biting survival drama

Updated Nov 4, 2022, 10:39 IST

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