Film Tarsnak Baazi Arvah – Doble Farsi فیلم ترسناک بازی ارواح دوبله فارسی – Watch on FilmeFari
seeking her missing sister Seo-woo. In an underground cistern, Seo-woo volunteers as the “possessed,” but when she collapses, terror unfolds. Trapped with sinister forces, the students face
In the ever-evolving landscape of South Asian cinema, Baazi Arvah emerges as a rare gem that blends mystery, horror, and human psychology with remarkable finesse. Directed by visionary filmmaker Rehan Mirza, the 2025 release takes audiences on a suspenseful, emotional rollercoaster that challenges their understanding of guilt, grief, and the supernatural. Starring Zoya Rahmani, Aamir Qureshi, and Naveen Shah, this film redefines what a modern paranormal thriller can achieve in both narrative depth and cinematic craft.
At first glance, Baazi Arvah (which translates loosely to The Spirits’ Game) might appear to be another haunted house story — but within minutes, it becomes clear that it’s much more. The film opens in an abandoned estate outside Lahore, where a young psychologist, Dr. Ayesha Karim (played by Zoya Rahmani), arrives to investigate a series of bizarre hallucinations experienced by her patients, all of whom share a disturbing connection to the same mansion. What follows is a chilling descent into a world where science and the supernatural collide.
Rehan Mirza’s direction ensures that the audience is gripped from the very first frame. The slow build-up, punctuated by unnerving silences and clever visual cues, makes the horror feel psychological rather than purely visceral. It’s a storytelling style reminiscent of early M. Night Shyamalan or the moody dread of The Others (2001), yet with a distinctly regional flavor.
The screenplay, co-written by Mirza and Samina Farooq, unfolds like an intricate puzzle. Each scene peels back another layer of the mansion’s past — revealing the sins, secrets, and betrayals that bind its ghostly inhabitants to the living. Ayesha’s investigation leads her to Rahil, a reclusive painter (Aamir Qureshi), whose disturbing artworks seem to predict the deaths of those who enter the house. The narrative keeps viewers guessing: Are the hauntings real, or are they the manifestations of a shared psychological trauma?
The beauty of Baazi Arvah lies in its refusal to spoon-feed answers. The ambiguity lingers even after the credits roll, compelling audiences to revisit key moments and search for clues they might have missed. It’s an approach that places the film squarely within the finest traditions of mystery and thriller storytelling — genres that rely on atmosphere, character psychology, and narrative restraint.
Zoya Rahmani delivers a career-defining performance as Dr. Ayesha. Her portrayal balances clinical rationality with a growing sense of dread and vulnerability. She embodies the character’s descent into obsession with such authenticity that viewers feel every flicker of her fear and confusion. Aamir Qureshi’s Rahil is equally compelling — enigmatic, tortured, and strangely sympathetic. His chemistry with Rahmani gives the film its emotional anchor, grounding the horror in human fragility.
Supporting roles from Naveen Shah as Inspector Abbas and veteran actress Shabana Tariq as the estate’s caretaker add layers of realism. Each character feels purposeful, contributing to the web of mystery without resorting to clichés or caricature.
Cinematographer Bilal Nadeem uses light and shadow with near-poetic precision. The mansion is captured as both beautiful and terrifying — a decaying monument where time itself seems to stand still. Every creaking floorboard and flickering candle contributes to a mood of growing paranoia. The color palette shifts subtly as Ayesha’s sanity frays, moving from cold blues and grays to oppressive sepias and deep blacks.
Equally impressive is the sound design by Rafiq Ansari, whose meticulous layering of whispers, wind, and silence transforms every corner of the house into a living entity. The absence of a typical jump-scare-heavy soundtrack allows tension to build naturally — a choice that aligns perfectly with the film’s psychological underpinnings.
At its core, Baazi Arvah is not just a horror film — it’s a meditation on the ways we are haunted by our past choices. Through Ayesha’s journey, the film explores themes of guilt, denial, and redemption. The “spirits” may not be literal ghosts at all, but manifestations of unresolved trauma. This philosophical undercurrent elevates Baazi Arvah above conventional supernatural fare, inviting viewers to reflect long after leaving the theater.
In doing so, the film finds kinship with classics of the genre like The Sixth Sense and Hereditary. Yet, its cultural grounding — in both folklore and modern psychology — gives it a unique identity within South Asian cinema. For more comparisons and reviews of genre-defining titles, readers can explore related films on FilmeFarsi’s horror collection.
Baazi Arvah stands as one of the most intelligent and emotionally resonant thrillers of recent years. It’s rare for a film to be both terrifying and thought-provoking, yet Rehan Mirza achieves that delicate balance with masterful control. With outstanding performances, haunting visuals, and a narrative that lingers in the mind, this is a film destined to become a benchmark in regional psychological horror.
For global audiences curious about the future of South Asian cinema, Baazi Arvah is essential viewing. It proves that great horror doesn’t rely on gore or cheap scares — it thrives on empathy, atmosphere, and the courage to confront what truly haunts us.
You can find more details and ratings for Baazi Arvah on its official IMDb page, and if you enjoy thought-provoking thrillers, don’t miss the latest reviews and genre explorations on FilmeFarsi.
Final Verdict: ★★★★★ (5/5) — A haunting, intelligent, and unforgettable thriller that leaves you questioning what’s real and what’s imagined.
Call to Action:
Explore more gripping titles in the world of suspense and horror by visiting FilmeFarsi’s thriller section and dive deeper into stories that keep you thinking — and trembling — long after the lights go out.