Metro… In Dino 2025

The film knits the fates of eight people who connect, collide, and wrestle with love, loyalty, and the messy truths of desire across a tapestry of Indian cities. Akash Arya, Ali Fazal, is a software engineer with a secret dream of singing on a bigger stage, while Shruti Shukla Arya, Fatima Sana Shaikh, is a former news reporter carrying her own quiet weight. Parth Nakul Sahadev, [Aditya Roy Kapur], is a travel blogger whose easygoing exterior masks a hunger for meaning beyond the screen captures and captions of his online life. Chumki, [Sara Ali Khan], is a spirited young woman whose Holi celebrations in Bengaluru spiral into chaos and confusion, testing her trust in the people closest to her. Kajol Ghosh Sisodiya, [Konkona Sen Sharma], and Monty Sisodiya, [Pankaj Tripathi], have a love-married life in Pune that frays under pressure, while Shibani Ghosh, [Neena Gupta], navigates loneliness, aging, and the pull of past romances. Parimal Sarkar, [Anupam Kher], anchors a web of family history and reputations that complicates everyone’s choices.

In Bengaluru, Akash and Shruti’s friendship-weighing-into-something-more begins to bend under the strain of unspoken dreams and the fear of failing each other. On a night of Holi, Parth travels between old memories and the present, and Chumki’s high-spirited celebration takes a sharp turn when she inadvertently ends up in the wrong flat, sparking a cascade of misunderstandings. Chumki’s fiery reaction to the intrusion sets off a chain reaction: a second woman arrives, a fiancé’s misgivings flare, and Parth becomes the unexpected buffer who tries to calm the storm. The scene in the flat compounds the tension of all the couples who are watching their own lives drift into rough seas.

Kajol and Monty’s marriage sits under the grid of everyday life and larger disappointments. Their daughter Pihu, played by Ahana Basu, embodies the questions that adolescence raises about identity and desire, amplifying the tension in a house that already feels like it’s standing on shifting ground. Pihu’s uncertainty mirrors the adults’ lack of a clean path forward, especially as Kajol’s own sense of self begins to re-emerge through challenges in her relationship with Monty.

Shibani’s arc broadens the story into Kolkata, where a college reunion becomes a stage for revelations. She reconnects with old friends and, at the urging of Parimal Sarkar, confronts the idea of moving forward. Parimal seeks a way to protect his own legacy and to guide his daughter-in-law Jhinuk, [Darshana Banik], toward a future after tragedy, even if that future requires uncomfortable truths. The drama around Jhinuk’s life frays with the pressure to restructure loyalties and property, while Shibani grapples with the specter of marriage, fidelity, and personal autonomy.

Back in Delhi and beyond, Akash’s restlessness pushes him toward Bombay to pursue singing, while Shruti returns to the newsroom, where a widower with a son awakens a new tenderness in her. The pair’s attempts to navigate pregnancy, career, and personal risk become a study in how two people can drift apart and yet find their way back to each other. Their decision about Shruti’s pregnancy—whether to keep the baby or not—becomes a central pivot around which the other characters’ lives orbit.

The film also follows Monty’s restless experiment with Tinder, a modern arena where vulnerability finds itself wearing a mask. The profiles he flirts with include a version of Kajol herself, and when the truth emerges—that the flirtation is with his own wife—hurt and forgiveness clash in a delicate balance. The two try to repair what was fractured, a process that invites both to ask what love means when embarrassment, pride, and genuine affection collide in public and private spaces.

As the story travels from Bengaluru to Pune, from Kolkata to Goa, and then back to Delhi, the relationships strain, buckle, and ultimately adjust. In Goa, Kajol and Monty sail through a tense confrontation that becomes a test of trust and pride. Kajol’s encounter with Aryan, Rohan Gurbaxani, hints at new possibilities, but she chooses to hold the line—an act that marks a turning point in how she sees her marriage and her own desire for companionship. It’s a decision that reshapes the forthcoming choices for everyone involved, especially Monty, who recognizes that love requires real change, not performance.

In parallel, Parimal’s ambitions and anxieties intensify. He follows a sharply practical plan to spur Jhinuk to move on, enlisting Shibani’s help as a semblance of legitimacy to his scheme. This rift — between what is convenient and what is fair — forces Sanjeev Ghosh, [Saswata Chatterjee], to confront a fault line in his own marriage with Shibani. The drama culminates in the Kolkata-Delhi corridor where misread signals lead to estrangements, reconciliations, and a decision to let life move forward, even if it means letting go.

Meanwhile, Parth and Chumki find their own rhythm amid the turbulence. Parth’s confidence grows as he recognizes a deeper affection for Chumki that has long been there. Chumki, who had been navigating the periphery of Parth’s attention, finally admits that her heart has always leaned toward him. Their decision to marry brings a new chapter for Chumki—one that includes expecting a child, a symbol of a future built on honesty and mutual support rather than avoiding the truth.

Amid these entwined arcs, Shibani and Sanjeev eventually heal their own rift, with Shibani exploring new creative outlets in theater and Sanjeev embracing a kinder, more forgiving space within their marriage. Shruti’s path leads her to motherhood as Akash earns attention for his singing, turning a long-held dream into a blossoming career. The film closes with the eight lives finally finding their own versions of peace: Akash and Shruti embracing a shared future in which love is both sustainable and soulful; Parth and Chumki stepping into marriage with a clear-eyed commitment; Kajol and Monty healing the distance between them; Shibani and Sanjeev rebuilding trust through shared aspirations; and Parimal, choosing solitude over the illusion of control, ending the day alone while the others move forward.

In the end, the film suggests that love, in its many forms, requires listening, compromise, and the courage to rewrite what a relationship can be. It is a mosaic of small choices that, taken together, reveal how eight separate lives can become a single, interwoven story about forgiveness, growth, and the stubborn hope that happiness can endure even through miscommunication and heartbreak.