What begins as a desperate search for a missing sister gradually descends into a disturbing exploration of trauma, paranoia and the fragile nature of reality in Autobi. The upcoming psychological thriller, starring Madhumita Sarcar, Shaheb Chatterjee, Rahul Banerjee, Aryann Bhowmik, Sushmita Roy and Inaaya Chowdhury, uses a mysterious forest and a fractured family history to explore how love and protection can sometimes become sources of fear.
The film follows sisters Dimple and Taniya, whose lives are permanently altered by a traumatic incident they witness during childhood. Years later, that shared experience continues to shape their relationship, with Dimple becoming intensely protective of her younger sister.
But when Taniya disappears, Dimple’s determination to find her takes her into a dangerous and increasingly surreal world where the distinction between an external threat and an internal psychological crisis begins to disappear.
A Childhood Tragedy Shapes Two Sisters
Autobi begins by looking back at the sisters’ childhood, when Dimple and Taniya witness a devastating domestic tragedy involving their parents.
The experience creates an unusually intense bond between them. What initially develops as a relationship built on shared grief and survival eventually becomes more complicated as Dimple’s protectiveness grows.
As adults, the sisters remain deeply connected, but that closeness is not entirely uncomplicated. Dimple’s desire to protect Taniya begins to take on an increasingly possessive dimension, raising questions about where genuine care ends and control begins.
The film uses this relationship as the emotional foundation for its larger mystery.
Dimple’s Search Takes Her Into Chamsutti Forest
When Taniya goes missing, Dimple refuses to accept that she is gone. Her determination to uncover the truth eventually takes her to Chamsutti forest.
What begins as an investigation gradually moves into much more unsettling territory when Dimple ventures into a restricted “No Entry” area.
From that point, according to the film’s premise, Autobi moves away from a conventional procedural mystery and towards a psychological nightmare.
The forest becomes increasingly difficult to separate from Dimple’s state of mind. Fear, paranoia, memory and unexplained phenomena begin to overlap, leaving both the protagonist and the audience questioning what can actually be trusted.
Soumava Banerjee Sees the Forest as a Character
Director Soumava Banerjee describes Autobi as a film that goes beyond the conventional missing-person narrative.
According to the director, the story examines the psychological consequences of childhood trauma and the way possessiveness can sometimes disguise itself as love or care.
Banerjee also gives Chamsutti forest an unusually important role in the film. Rather than treating it simply as a location for the horror elements, he sees the forest as an active presence that reflects Dimple’s deteriorating psychological state.
The filmmaker intends to blur the boundary between what happens inside the jungle and what happens inside Dimple’s mind, allowing the external landscape to mirror her growing paranoia.
A Story About Gaslighting and Uncertainty
The psychological dimension becomes even more prominent as Dimple moves deeper into the No Entry zone.
Banerjee describes Autobi as a tragedy about gaslighting, suggesting that the film will challenge viewers to question their assumptions about the people and events surrounding Dimple.
The director’s central question is particularly unsettling: when people fear ghosts or unseen forces, are the real threats necessarily supernatural, or can they sometimes be found among the people they trust?
That idea gives Autobi a thematic layer beyond conventional horror. The film appears interested not simply in frightening audiences, but in making them question the reliability of perception and memory.
Madhumita Sarcar Takes on a Complex Role
Madhumita Sarcar leads the film as Dimple, a woman whose determination to find her sister is inseparable from the psychological burden she has carried since childhood.
Her character’s journey requires her to navigate grief, fear and uncertainty while confronting a world that increasingly refuses to offer straightforward answers.
The role places the emotional weight of the film on Dimple’s relationship with Taniya and on the consequences of a protective instinct that may have become excessive.
Inaaya Chowdhury plays Taniya, the younger sister whose disappearance sets the central story in motion.
Their relationship is therefore not simply a subplot but the foundation on which the film’s mystery and psychological conflict are built.
D.K. Bharti on the Film’s Atmospheric Horror
Producer D.K. Bharti says the project stood out because of its combination of psychological drama and atmospheric horror.
For the production team, Chamsutti forest was particularly important because the setting allowed the filmmakers to create a sense of confinement despite the vastness of the location.
The forest’s restricted area becomes closely connected to Dimple’s increasingly unstable mental state, while the horror is intended to emerge from the environment and psychological tension rather than relying solely on conventional jump scares.
Bharti also highlights the film’s deliberate uncertainty between supernatural folklore and psychological distress.
That ambiguity is central to the experience Autobi aims to create: viewers are encouraged to question whether the frightening forces surrounding Dimple exist independently of her mind or are connected to her own trauma and paranoia.
When the Real Monster May Not Be in the Woods
The first look of Autobi sets up a thriller in which the mystery of Taniya’s disappearance is only the beginning.
Underneath the investigation lies a story about two sisters bound by childhood trauma, a protective relationship that may have become suffocating, and a protagonist whose perception of reality is increasingly challenged.
Chamsutti forest provides the film with its physical landscape of darkness and uncertainty, but the filmmakers appear equally interested in the psychological landscape inside Dimple.
That makes Autobi intriguing not simply as a supernatural thriller, but as a story about memory, manipulation, fear and the consequences of unresolved trauma.
As Dimple ventures deeper into the forest, the question may no longer be simply where is Taniya? It may become something far more disturbing: what can Dimple still trust — and who can she trust?
