Directed by R.S. Prasanna, “Sitaare Zameen Par” marks Aamir Khan’s much-awaited comeback to the silver screen after two crashing failures—“Thugs of Hindostan” and “Laal Singh Chaddha.” Dubbed as the spiritual sequel to the much-acclaimed “Taare Zameen Par” (which Khan himself directed), this film tackles a very different terrain. It’s made for kids with Down syndrome, autism, and other neurodivergent conditions. But to reduce it to just that would be a disservice. At its heart, “Sitaare Zameen Par” is a celebration of empathy, of laughter, of healing in the most unexpected places. It’s also an official remake of the 2018 Spanish film “Campeones,” which further reinforces the global sensibility behind the story.
So, first things first: does this movie succeed in matching up to “Taare Zameen Par?” The short answer is no. But even asking that is a bit of a mismatch. “Taare Zameen Par” and “Sitaare Zameen Par” are apples and oranges. One’s a gentle soul-searching drama, the other is a riotous, feel-good ride. Comparing them is neither fair nor fruitful. So that discussion will not take place here.
At the center of “Sitaare Zameen Par” is Gulshan Arora—a self-centric, egotistic man who doesn’t just lack empathy, he outright avoids any kind of emotional responsibility. He’s the kind of man who sees every interaction as transactional. In very subtle scenes, it’s implied that Gulshan has zero respect for anyone around him. He doesn’t listen; he only waits for others to stop talking. As quoted by him in the latter half of the movie, “I leave people before they throw me out of their lives.” That one line says it all. He’s broken and unaware, and he carries this dysfunction like a badge.
Things take a turn when he finds himself in legal trouble after recklessly crashing into a policeman’s car while ignoring a No Entry sign. Instead of jail, he’s assigned a rather unconventional punishment: to coach a basketball team of neurodivergent kids for three months. That’s the extent of the plot. But from this point onwards, the film lifts off—and how. It turns into a complete blast of laughs and warmth, the kind that will have you smiling ear to ear without even realizing it.
What works so well is that Gulshan isn’t shown having some overnight, teary-eyed transformation. His growth is gradual and flawed. In this rollercoaster of three months, Gulshan represents us, the audience. He starts by calling the kids “mental,” a problematic but very real reflection of how society often labels difference. But as he starts to see them beyond labels, something shifts. He comes to terms with the fact that it’s not them, it’s him. He’s the one who’s handicapped in his thinking, the one truly stuck in a cage of ego and assumptions. That realization doesn’t come with melodrama. It comes with humour, awkward silences, unexpected jokes, and slowly blooming affection.
The real USP of “Sitaare Zameen Par” is that it refuses to paint these kids as objects of sympathy. They’re just… kids. Full of life, opinions, sarcasm, rebellion, and everything in between. Their parents are supportive, and their lives are not portrayed as tragic. They are not fighting for acceptance every second. If anything, it’s Gulshan who’s learning from them. It’s they who pull him out of the darkness. This subtle inversion is powerful and necessary.
There’s a standout moment that reminded me of the “Family Guy” episode “Extra Large Medium,” where a girl with Down syndrome is portrayed as just as awful and funny and flawed as any other human character, normalizing instead of sermonizing. “Sitaare Zameen Par” achieves the same through scenes that are sometimes hilarious, sometimes touching, but never manipulative.
One of the kids even smokes—a moment the film doesn’t over-highlight or preach about. It’s simply there, just like how it would be if a non-neurodivergent character did it. That’s what makes the film such a confident take—it doesn’t tiptoe around its characters or overly polish them for sympathy. There’s no over-the-top scene of Gulshan “learning his lesson” through tears. Every interaction between him and the kids ends either in laughter or a heartfelt realization.
The performances are all brilliant. The kids deliver in a way that makes it evident that the directors and crew didn’t try to mold them into actors. They created space for them to be. For instance, the character of Sharmaji cannot speak properly in real life too, so instead of masking it, the makers wrote a part that embraces it, while making it work contextually in the story. The film never uses their disabilities to extract emotion—it uses their personalities to deliver impact.
Now, about Aamir Khan. This isn’t the usual suave, soulful mentor we know. Gulshan is a deeply frustrating man. Unlike Nikumbh or Rancho, who offer pearls of wisdom, Gulshan is the kind of guy who needs a punch in the face. His father left him as a child, but even that is shown with restraint. The film never begs us to empathize with him. Instead, it lets us watch him crash and rebuild, all the while being trolled mercilessly.
Yes, even Khan isn’t spared here. He’s poked at for his short height, average looks, and being too old for Genelia (who plays his love interest). It’s all done so cleverly that it dismantles the “Aamir Khan” image without ever being disrespectful. You can almost feel Khan relishing this process—this letting go of perfection, this embracing of flaws.
For cinephiles, there’s a lot to love here, too. Little nods to Khan’s earlier movies like “Lagaan” and “Rang De Basanti” pop up in between, and even his production “Delhi Belly” is referenced cheekily. These moments never overpower the story but add layers for those who’ve followed his work through the years. No forceful recommendation here. But if you’re in the mood for something that doesn’t just entertain but also disarms you with honesty and joy, “Sitaare Zameen Par” might just be the film you didn’t know you needed.
Also Read: Retro Review
