Intelligence agency films usually spice up a dreary world of secrets and negotiations. Such movies include over-the-top fights and frequent double-crosses, but how often can there be international incidents? A line from a Hardy Boys book comes to mind here. One of the detectives says that in their line of work, it is extended spells of nothing followed by short bursts of activity. Vishal Bharadwaj’s spy film, Khufiya, is just that. The director brings Amar Bhushan’s Escape to Nowhere to life by allowing audiences to glimpse at a world of agents through Farhad Ahmed Dehlvi’s lens. His story focuses on family, loyalty, and three women- an agent, an informer, and an unsuspecting wife. 

Khufiya meanders along across three countries with moments of nothing happening. Quite the polar opposite of the James Bond films or the Jack Ryan series. In this Netflix film, audiences visit seedy by-lanes, lavish parties, regular apartments and restaurants, and locations across continents. Mundane and regular? But that seems to be what spy work is about. A six-letter word starting with ‘b’ and ending with ‘g’ may come to mind. However, Khufiya is far from that. It is a grounded reflection of people, who, in essence, are deskies. While at the desks, these intelligence agents battle bouts of boredom, put their lives in peril, and remain alert in the pursuit of secrets. 

Khufiya’s acting drives the movie forward

Khufiya’s cast allows the film to thrive. Tabu, who plays KM, brings vulnerabilities and emotion to the table with this particular mission. Thanks to Vishal Bharadwaj not making these the pivotal focus of her character, Krishna Mehra does not venture into Carrie Matheson territory. The veteran Bollywood actress’ skill comes through as audiences bear witness to her duty-bound exterior, grappling with her urge to tell the truth in more than one way.  

Ali Fazal’s turn as Ravi Mohan is the essence of being composed under pressure. No rash decisions are made, but there is something weighing him down. Emotions drive him, as he gets trigger-happy when alone. Do we know which side he really is on? Does he have to have a side? He does pick, but is it a side or is it what’s best for his family? 

Wamiqa Gabbi essays Charu, who brings forward the loyalty aspect. Her evolution from a free-spirited person to someone seeking to make things right provides a rather meaningful arc. Audiences may question Gabbi having a scene around the 40-minute mark, but the director’s decision has merits. It shows the character’s willingness to be free and a Bollywood number from 50 years back comes as a surprise. You would not have been expecting that! The scene had a reason for another character’s orientation coming forward, but that did not dominate the narrative. 

The character’s layers are not super crucial in Khufiya

The use of certain elements to add layers to a character is welcome. Rohan Narula and Vishal Bharadwaj’s choice to avoid said layer merging with another layer and playing a key role is quite refreshing. This choice allows Khufiya to carve its own identity in this genre. 

Some other things that can catch the audience by surprise include the mole. Vishal Bharadwaj introduces this concept in a rather unique manner. Combined with the shocking opening scene, Khufiya had me totally invested. 

This Netflix Original tells audiences who the guilty party is. Or does it? If you opt for the latter, they can be rewarded with hints of a mastermind reveal seeming imminent throughout. Cinephiles looking for the former can invest in the journey to catharsis as the agents do their jobs. But it’s not just a job. It goes far beyond that, for even in the world of spies, ‘the masses of flesh’ are humans. This, too, is an element that lingers but does not overpower. Could that result in the audience not having too much to be invested? Especially with a film of this duration?

Khufiya being lengthy may put off audiences

Khufiya’s runtime is a concern, especially on Netflix. After quite a while, I saw that there were over 110 minutes left. Granted that Vishal Bharadwaj wished to envelop the audience in the cat-and-mouse wait-and-watch game, but this film’s duration could deter audiences. 

In the reel world, audiences may expect the suspense to be ever-present. As this does not happen, there is a constant building of expectations. Had the film been a tad shorter, the honest depiction of this subject matter may have worked. It is mainly in the climax the director allows the suspense to build. There usually is a complaint about extending the suspense far too long. Unfortunately, in trying to toe the line, Khufiya ends with a rather quick payoff. This can seem underwhelming for some. 

A piece of advice here would be to ignore the words saying 157 minutes. Khufiya, by not exploring additional layers, allowed the focus to remain singular. The film is about secrets and how countries influence things externally. Watch it for the acting, and the emotions of the individuals, and to witness just how unobvious certain important things are. Touching a fallen piece of paper, rubbing off a random mark somewhere, or even a casual conversation, can disrupt layers of effort. Khufiya can frighten and caution audiences in many ways.