The film opened on a skyline of a Mumbai that had grown upward and inward: glass towers like teeth, skybridges like veins. Neon Hindi script bled across rain-slick streets. A subtitle claimed the year: 2025. The camera dropped into alleys where drones hummed and sari fabrics rippled around boots. An unseen narrator — equal parts smuggler, priest, and ghost — told of a city infected by markets that sold more than goods. People purchased second chances, memories, and, if they were desperate, absolution. The seller’s trademark was a small black card stamped with three angular letters: DDR.
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