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After a 14-year hiatus, the duo returned in Praktan (2016), playing a divorced couple who reconnect during a train journey. This film moved beyond typical romance to explore themes of sacrifice and ideological differences in marriage.

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Then came the revolutionary The Last Lear (2007) and Khela (2008), where Sengupta began weaving queer desire into the fabric of conventional romance. In Khela , a director (played by Sengupta himself) is torn between a loving wife and a male muse. The love triangle here is not about sex but about artistic and emotional loyalty. For the first time in Bengali mainstream-adjacent cinema, a man could say, “I love her, but I also need him,” and the tragedy wasn’t the queerness—it was the impossibility of honesty. After a 14-year hiatus, the duo returned in