Ek Din Review: This Junaid Khan-Sai Pallavi Film Is Nothing Like SaiyaaraWhen a film arrives with the kind of buzz Ek Din had, comparisons are inevitable. But this Junaid Khan and Sai Pallavi romantic drama is not trying to be a grand emotional tearjerker in the Saiyaara mold. In fact, several early reviews say the opposite: Ek Din is softer, more restrained, and far more uneven. It is a Hindi adaptation of the Thai film One Day, directed by Sunil Pandey and backed by Aamir Khan Productions, with Sai Pallavi making her official Hindi cinema debut alongside Junaid Khan. The film released on May 1, 2026.
What stands out immediately in the critical response is the tone. This is not being described as a disaster, but it is also nowhere near the kind of love story that lingers long after the credits roll. NDTV calls it a “forgettable addition” to the memory-and-love genre and gives it 2 stars, while Hindustan Times describes it as an “engaging but uneven” drama that starts well and fades before the emotional payoff lands. The common thread across reviews is simple: the film has sincerity, but not enough emotional force.
The story itself is built on a neat hook. Junaid Khan plays Dino, a shy, awkward IT worker who quietly loves his colleague Meera, played by Sai Pallavi. During an office trip to Japan, a wish and a strange twist of fate lead to a situation where Meera experiences transient global amnesia for a day, giving Dino a brief, unlikely chance to be close to her. That premise, as several reviews point out, is unusual and potentially interesting, but the execution is where the film struggles.
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The biggest praise, across almost every review, goes to Sai Pallavi. Mint calls her “the one spark” in an otherwise stilted romance, and Hindustan Times says she shines even when the film around her loses strength. NDTV also notes that she commits fully to the role and brings energy to scenes that otherwise feel thin. In other words, if Ek Din has a pulse, critics say Sai Pallavi is doing a lot of the heavy lifting.
That said, her performance alone cannot save the film from structural problems. A recurring criticism is that the romance does not fully bloom. The chemistry between Junaid Khan and Sai Pallavi has been described as limited or uneven, and the emotional arc is said to be too restrained for a story that depends on longing, trust, and heartbreak. NDTV says there is “little chemistry” between the leads despite sincere effort, while The Quint argues the romance feels too wishy-washy to carry the premise.
Junaid Khan’s performance has also drawn mixed notes. Some reviewers say he fits the awkward, underconfident role well enough in the earlier portions, but others feel the character writing starts to work against him as the film progresses. The Hindustan Times review says he “holds his own” in emotional stretches before the writing begins to falter, while Aaj Tak’s review is much harsher, saying his performance lacks energy and that Sai Pallavi tries to rescue the film on her own.
Where Ek Din seems to lose the most ground is in the second half. Multiple reviews mention that the first half is comparatively engaging, but the film begins to wobble as it moves toward the climax. Hindustan Times says the second half falters with a confusing ending. NDTV says the film stretches itself unnecessarily as it tries to land the emotional reveal. That pattern matters, because a romance like this lives or dies on its ending. If the final movement does not land, the whole story starts to feel lighter than intended.
The Quint’s review is especially critical of the film’s emotional strategy. It argues that the movie wants sweeping feeling but never fully earns it, and that the love story feels constrained by its time-bound setup and an over-reliance on melodrama. Hollywood Reporter India also points out how quickly the premise can tip from fairytale to discomfort, depending on whether the storytelling works. That is really the central problem with Ek Din: the idea is fragile, and the film does not always know how to protect it.
One thing that does earn consistent appreciation is the film’s technical polish. Aaj Tak notes that the Japan visuals and cinematography are among the strongest parts of the movie. Hindustan Times similarly praises the music and background score by Ram Sampath, along with Manoj Lobo’s cinematography. Even reviews that dislike the storytelling generally accept that the film looks and sounds pleasant. That gives Ek Din a certain surface charm, even when the script itself does not generate enough emotional depth.
The problem is that visual beauty can only do so much in a romance. Ek Din appears to be a film built around mood, longing, and the tenderness of a fleeting connection, but several critics feel it never turns those elements into something truly moving. NDTV calls it a forgettable entry in a crowded genre. The Quint says the film feels unconvincing. Mint describes it as sweet and sincere, but too placid and corny. That combination tells you almost everything: the movie is not being rejected for lack of intent, but for lack of impact.
The comparison with Saiyaara is useful only because it highlights how different the emotional registers are. Some reviews explicitly draw the contrast: Saiyaara is described as louder, more tortured, and more overwhelming, while Ek Din is gentler and more contained. That does not automatically make one better than the other. But it does explain why the “this is nothing like Saiyaara” framing has become part of the conversation. Ek Din is trying to win through softness, not storminess. The issue is that softness alone is not enough when the storytelling feels undercooked.
The early box office also suggests that the film’s reception has been lukewarm rather than explosive. The Times of India reported that Ek Din opened to Rs 1.15 crore on day one, with low occupancy across shows. That is not the kind of opening that signals strong audience pull, especially for a film that arrived with a starry combination, a popular actress’s Hindi debut, and the backing of Aamir Khan’s production house.
So, is Ek Din worth watching? The honest answer is: partly. If you are watching for Sai Pallavi, there is enough here to appreciate her screen presence and emotional control. If you are watching for a deeply memorable romance, the film seems to fall short. It has a neat setup, a strong lead performance from Sai Pallavi, pleasant visuals, and a sincere tone. But it also has a weak second half, limited chemistry, and a climax that many reviewers found underwhelming. That makes it more of a decent one-time watch than a truly lasting love story.
Ultimately, Ek Din is the kind of film that reminds you how hard romance is to pull off on screen. The ingredients are all there: a compelling female lead, a shy male protagonist, a foreign setting, a memory-loss hook, and the promise of emotional vulnerability. But a good premise is only the starting point. What critics are saying, almost in unison, is that the film never fully converts its idea into a feeling. And in a love story, that is the one thing you cannot fake.
Final verdict
Ek Din is a sincere but uneven romantic drama that leans heavily on Sai Pallavi’s presence and beautiful framing, yet never quite becomes the haunting love story it seems to want to be. If you walk in expecting a Saiyaara-style emotional blast, this is a completely different kind of film. More delicate, less intense, and, according to most reviews, considerably less memorable.