Akarsh Khurana’s film, a near-impossible feat, explores humor within mortality. Despite some pacing issues, it’s a film that manages to avoid offense. The story feels drawn out at times, with unnecessary detours, as seen with Dulquer’s character, Avinash. Avinash, a discontented office worker, dreams of breaking free and pursuing photography. The film shares similarities with Netflix’s ‘Kodachrome,’ where a father and son embark on a road trip. In ‘Karwaan,’ the father is deceased at the film’s beginning, having discouraged his son’s photography aspirations. Discussions on the digital versus the actual, echoing ‘Kodachrome,’ are also present. Khurana brings a unique perspective to the themes of estrangement and reconciliation. Irrfan’s character, Shaukat, a Muslim car dealer, is a standout, appreciated for his unfiltered nature. Irrfan delivers memorable scenes, even when the road trip falters, like gatecrashing a wedding or making jokes in Hindi. His interaction with a woman in a burqa showcases his acting prowess. The music seems out of place, and the pace falters after the midpoint. However, the film’s warmth and empathy for its characters make it an endearing road trip, even with its deviations. The film concludes with poignant moments, like a woman identifying the wrong coffin. Akarsh Khurana reflects on the film’s impact, appreciating the opportunity to work with Irrfan and recognizing Dulquer as the heart of the movie.
