Kahaani is an absolutely remarkable film for three reasons. First, it is the tautest, most involving thriller to have come out of Hindi cinema in years. Second, it is a stunningly shot city film, made inestimably more memorable by the simple move of stepping out of supremely overused Mumbai streets and increasingly familiar Delhi locations into a startlingly cinematic Kolkata. And third, it contains another bravura performance from the marvellous Vidya Balan, stepping back into the arc lights, even as the thunderous applause for The Dirty Picture continues to ring in her ears (and ours).

As Vidya Venkatesan Bagchi, a woman who arrives in Kolkata distressed and seven months pregnant, to search for a husband who has gone missing, Balan demonstrates yet again how immense the possibilities are for a talented actress who can get beyond the Bollywood preoccupation with looking glamorous on screen. Just as she filled out Silk’s ample curves with ease, giving us a glimpse of a sexuality that is joyous, libidinal and free, Balan in Kahaani embraces with grace and fullness the traditionally kept-out-of-sight body of the heavily pregnant woman.

The pregnant female body has always been in plain view, but I cannot think of another instance when it has been so unapologetically present, at least on the Hindi film screen, as it is in Kahaani. As a recent piece in Open magazine points out, Sujoy Ghosh has been preoccupied with the transformative power of motherhood for quite some time. His first film, the light and breezy Jhankaar Beats (2003), was a more or less all-boys film but featured a pregnant Juhi Chawla as the calming, strong presence in a rather confused male universe.