Plot
Nazar revolves around a young and talented pop star Divya (Meera). From the start it is obvious the existence of a strange aura surrounding Divya’s personality. She is a girl who has lived a secluded life after the death of her parents in a car crash. After shooting her last video she decides she wants to go home. Along the way, despite the darkness she discovers a dead body on the middle of the road.
From this moment on Divya has visions of the future, rather than an art it becomes like a curse for Divya as all she sees is brutal murders. In her visions all she sees is dance-bargirls being stabbed, strangulated and suffocated to death by a killer whose face continues to elude Divya’s clairvoyance.
Unknowing to her, a policeman, Rohan (Ashmit Patel), is investigating murders of bargirls in the city. A serial killer is on the loose and Rohan has the case to nab him.
Rohan buys Divya’s story (about her visions of murders) but his female assistant Sujata (Koel Purie) does not. Taking help of Divya’s clairvoyance, he begins to zero down on prime suspects that include a doctor, a fugitive and an eccentric-alcoholic uncle who frequents bars regularly.
As the movie progresses, Divya becomes the next on the murders list of the unknown killer who might have been the same who killed the person on the road that she found that night.
In the it turns out that Sujata is the serial killer: her husband slept with a bargirl who passes AIDS to him, who in turn gave the disease to Sujata. From then on, she developed a dislike for the bar girls in the city and goes on a killing spree. She dies at the end by falling off a building.
Read more about this topic: Nazar (film)
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“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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