Aamar Boss Movie Review : A film about the elderly that has its heart in the right place

India’s ageing population is steadily growing, and as joint families fragment and urban lives grow busier, the emotional needs of the elderly are often sidelined. Nandita Roy and Shiboprosad Mukherjee – known for their sensitive, socially aware films like Bela Seshe and Posto – tackle this shifting reality in their latest, Aamar Boss. The result is heartfelt and engaging, though occasionally uneven.
The title Aamar Boss cleverly captures the film’s essence – a role reversal where an ageing mother asserts her independence, not just as a parent, but as a person with purpose. This duality of affection and quiet rebellion sets the tone.
The story begins with Shubhra (Rakhee Gulzar), a widowed, retired nurse with too much time and too little to do. Her son Animesh (Shiboprosad Mukherjee), busy with his publishing job, struggles to be present despite his love for her. Seeking purpose, Shubhra starts interning at his office – only to dream bigger. She launches a startup to empower other seniors, stirring both admiration and conflict at home.
The first half unfolds with charm and warmth, bolstered by crisp cinematography. A standout moment features a sunset over the city skyline – a quiet, poignant exchange between mother and son that speaks volumes. However, the second half loses momentum. Comic relief, particularly from Sabitri Chatterjee, offers some sparkle but stretches a bit long. The narrative rushes key developments, leaving certain arcs underexplored. A few forced romantic subplots – and forgettable songs – distract from the core story.
Rakhee’s return is the film’s biggest win. She commands the screen with grace; her expressive silences are deeply moving. Her scenes with Shiboprosad – filled with unspoken tension and mutual respect – are some of the film’s best. While Shiboprosad is solid as the pragmatic son, his romantic track doesn’t quite land. Gourab Chatterjee and Sauraseni Maitra add youthful energy, and the supporting cast – Shruti Das, Avery Singha Roy, Uma Banerjee, and Aishwarya Sen – shine in moments of genuine camaraderie, particularly among the women.
Aamar Boss aligns well with the Roy-Mukherjee filmography. Just as Bela Seshe explored late-life love and Posto redefined parenting roles, this film asks: What does relevance mean in old age? It suggests that retirement can be a beginning, not an end. Yet, the storytelling occasionally feels crowded – multiple subplots compete for attention, diluting the impact.
Despite its flaws, Aamar Boss resonates. It’s a timely reminder that caregiving is not just about comfort, but about respect, agency, and space. Whether you’re part of the sandwich generation or an older viewer seeking representation, the film offers moments of recognition – and quiet power.