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Bhoot Pori 2024 – The Jaya Ahsan starrer horror dramedy is hitting theatres on THIS date

Bhoot Pori, Soukarya Ghosal latest brainchild, is hitting the theatres right in time for Valentines Week. Starring Jaya Ahsan as the eponymous ghost, the film promises a heartwarming premise. 

Bhoot Pori 2024 – The Jaya Ahsan starrer horror dramedy is hitting theatres on THIS date
Jaya Ahsan in Bhootpari

Last Updated: 02.00 PM, Feb 05, 2024


Surinder Films is ready to serve their latest family-entertaining concoction of horror, drama and comedy, titled Bhoot Pori, right in time for Valentine's dessert. Since Adda Times now belongs to Surinder Films, it is expected that Bhoot Pori will have its OTT debut on the Bengali streaming platform.

Release Date and Trailer of Bhoot Pori

Starring Jaya Ahsan in the eponymous role of the story’s Bhoot pori, named Bonolota, the film will release theatrically on February 9, 2024. Directed by Soukarya Ghosal of Rainbow Jelly fame, the film dropped its trailer on January 19. The trailer offers a classic view of the director’s vision, as reflected in his previous projects.


Contents of the Trailer and Plot of Bhoot Pori

Just like his other films, Bhoot Pori offers a thoughtful exploration of quirky yet relatable characters, against a backdrop of history, social evils, horror, folklore, and comedy, of course. The film traces the story of an unlikely bond formed between a young boy and a spirit that has been stuck in a lonely time warp for 70 years.

Previously passing through any passing human, Jaya Ahsan’s Bonolota is pleasantly surprised at being able to touch the young Suryanararyan’s shoulder. The latter is essayed by child actor Bishantak Mukherjee. The story also involves a strange mentorship between the Ritwick Chakraborty’s local village thief Makhan and the young parallel protagonist.

The film also features the starry likes of Shantilal Mukherjee in the devious role of Kalo Thakur, and Sudiptaa Chakraborty as Suryanarayan’s modern mother. As for Kalo Thakur, he holds a more complicated past, as he may have been responsible for the enforced deaths of several widows as Sati (an erstwhile social evil that made a young widow burn to death on her significantly older husband’s funeral pyre).

As for Suryanarayan, there is a possibility he is the former’s descendent and has inherited some of his ‘magical powers’, offering a justification for the strange connection between him and Bonolota, other than having similar dreams at night. All this is treated with a humorous yet dramatic approach, creating a solid foundation for the ultimate transition of Bonolota from a “bhoot” to a “pori”.

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