Debojyoti Mishra

Debojyoti Mishra, yeah, the guy’s got a knack for weaving magic with music. If you’ve watched Robibaar (2019), you probably caught yourself lingering on those notes long after the credits rolled. The film digs into human relationships, all those messy, raw bits we don’t exactly talk about at parties. Mishra’s score for Robibaar? Subtle but haunting, like the soundtrack to a memory you can’t quite shake off. Jump to Binisutoy: Without Strings (2020)—another one where Mishra’s style just dances around your nerves. The film’s all about two strangers spinning wild stories to each other, trying to escape their own bland realities. Mishra doesn’t just add background noise; the music’s like a third character, poking at your emotions, making you wonder what’s real and what’s just fantasy. It’s clever, and honestly, kind of addictive. Then there’s Bansuri: The Flute (2021). Here, Mishra goes full throttle with the whole classical vibe, but it never gets heavy-handed. The story’s got this father-son thing going on, with a bunch of secrets swirling around, and the music? It’s both soothing and a little bittersweet, like nostalgia wrapped in a new tune. Mishra somehow always manages to get under your skin without you realizing it. Bottom line, Debojyoti Mishra isn’t just composing tracks—he’s setting the mood, telling stories between the lines. His work sticks with you, in that sneaky way that only the best film music does.