Duvidha ★★★★½

Ghost fiction is the more literally and emotionally haunting horror lore because the hypothetical existence of ghosts simultaneously proves that there is an afterlife but also suggests that it holds less satisfaction and distraction than our own miserable corporeal existences.Duvidha leans into that by presenting a ghost not only eager to obtain any simulacrum of a real, flesh-and-blood life again but possessed of the wisdom of experience to live a tangible life more fully than those of us still on our first go-arounds. Here, a ghost takes the form of a newlywed man who immediately abandons his wife to pursue a fortune in a business scheme that will keep him from home for years. Yet where this man races off for gold, the ghost who usurps him cares only for feeling love and devotion again, and proves such a tender husband that even when he confesses the ruse to the wife, she is so relieved to have a man who chooses to be with her that she gladly keeps company with the spirit. Shot luminously in golden hues that occasionally wash out into pure negative space (one image of a bird perched on a wall is so heavenly it looks like a painting with no background), the film glories in all the tactile pleasures of the world that the living are too misguided and blind to see.