The happy-go-lucky Posham Pa rhyme is probably the only title that could mask the darkness in the cold-blooded, vengeful tale about a family full of psychopaths. Its story inspired by true incidents addresses the reason behind the abusive tendencies of two women and how their painful childhood sows the seed for their anti-social behaviour. It’s a non-linear narrative that connects the dots between the present and the past of two sisters Regha and Shikha who’re literally groomed to murder since their younger days, thanks to a poverty stricken mom not left with much choice for survival. The modus operandi of their murders is being examined by a documentary filmmaker, who even supports the claim of innocence put forward by the elder sister. Can she be trusted? The 76-minute film is chilling and disturbing as long as it lasts. There’s barely a stroke of emotion or empathy you feel for the characters through the narrative. Poverty, prostitution, child abuse are proclaimed to be the basis behind their petty thefts and murders. The filmmaker Suman Mukhopadhyay to his credit keeps the proceedings real yes, neither does it serve much purpose nor is it impactful. There are gory images of orphans being stoned to death, pushed to the roads to die under four-wheelers. Persistently, there are instances highlighting their alienation they face from the society for their acts, including an army-man who agrees to marry the mother and parent the children. There are sequences where the blood of a victim spills onto the rice they eat. These stretches only further the element of disgust in a spectator more than anything else. Is it successful in giving the culprits a voice? Does it evoke sympathy? Is the filmmaking a stroke of genius? Are the performances spell-binding? Not quite and in fact, far from it. You’re left with more questions than answers. The narrative is vague and the writing is weak. It proceeds in a matter-of-factly fashion and doesn’t take a stance. The final nail in the coffin is a twist that lands in the last 10 minutes – it seems like a failed rescue act for a film that has already drowned. The non-linear narrative feels quite abrupt – the characters don’t quite register. There’s a certain set of aesthetics that filmmakers need to adhere to, even while telling such dark stories. The cinematography is bland, the editing is all over the place. That’s the reason why not all stories of a psychopath can be a Barot House.