Ice Cream 2014

Yeh Kaisi Anhonee is the Hindi-dubbed release of the 2014 Telugu film Ice Cream, and it is presented as being inspired by a true story. The project sits in Ram Gopal Var­ma’s broad spectrum of thrillers, a filmmaker whose bold, self-assured approach shapes the mood and tone here. A distinctive feature the film is known for is its looping structure: the opening sequence repeats itself like a stuck record, creating an immediate sense of déjà vu before the narrative truly unfolds and the story starts to move forward.

The film features Navdeep as Vishal and Tejaswi Madivada as Renu, with Sandeepthi in a supporting role. A wealthy family moves into a new, grand bungalow, and the daughter stays behind to study for exams while the adults attend a wedding. A casual visit from her boyfriend introduces a light dynamic, but a sudden knock at an unseen door unsettles the rhythm. She sends him away, then calls him back, only to push him out again, creating a tense micro-drama within the otherwise vast house. The scene is punctuated by the camera’s deliberate pace and a sense that something unseen could emerge at any moment, heightening the anticipation.

Alone in the sprawling residence, the girl encounters a sequence of eerie moments: an old woman who seems more witch-like than human appears in the shadows, a creaking door and a dripping bathroom tap contribute to a growing sense of dread, and the atmosphere shifts as she experiences unsettling dreams. The narrative centers on a motif of ice cream, introduced as a potential trigger for nightmares, and her boyfriend’s warnings about the dangers of indulging too much in sweets are woven into the plot as a thematic thread that blurs the line between dream and reality. The film continually probes whether the disturbing events are real intrusions or the product of a troubled mind, keeping the viewer uncertain about what truly lies beyond the surface.

As the story unfolds, a string of intrusions returns in a loop: a pizza delivery person, a maid with his eerie son, and a plumber who appears to have a distorted gait—each figure seems to appear and vanish in inexplicable ways. The young woman wrestles with the question of reality vs. imagination, wondering if the strange happenings are ghosts, figments of fear, or something else entirely. This recurring pattern reinforces the sense of déjà vu that permeates the film, nudging the viewer to question every perception and every sound.

From a stylistic angle, the director experiments with how scenes are framed and lit, often employing a handheld camera to keep the action feeling immediate and intimate. A notable moment centers on a mirror sequence: the protagonist’s reflection appears to react with an unsettling nuance, only to revert to normal as the scene progresses. These choices are part of a broader attempt to explore the destabilizing boundary between truth and illusion. The score leans into abrupt, loud cues for jump scares, and while some moments land, others feel dated or overused, which can undermine the intended thriller mood. The performances anchor the film, yet the overall execution at times lacks a sustained tension that a strong suspense piece typically requires.

The production also draws attention for claiming the use of Flowcam System Technology for both camera and sound, though the tangible impact of that technology remains subtle in practice. The project is introduced with a synopsis attributed to Vikas Bhatt, positioning the work as a contemporary take on suspense and the unknown through the lens of the director’s distinctive persona. In the end, Yeh Kaisi Anhonee invites viewers to consider how form, technology, and familiar horror motifs intersect on screen and whether this particular blend offers a fresh perspective or simply revisits familiar beats.

Overall, the film rests on a premise built around repetition, dreamlike sequences, and a faintly supernatural atmosphere, anchored by its principal cast and a willingness to experiment with visual language. The result is a title that generates conversation about its ambitions, its technical ambitions, and its ability to sustain a mood of unease across a feature-length run time.