‘Gustaakh Ishq’ ending explained: How Vijay Varma loses his press but wins the bigger battle

The romantic drama 'Gustaakh Ishq', directed by Vibhu Puri, has found a renewed audience after its OTT release on January 27, 2026. Following its theatrical run in late 2025, the film has drawn fresh attention for its lyrical storytelling, emotional restraint and deep nostalgia for a literary culture on the brink of disappearance.

A story rooted in language and legacy

At the centre is Nawabuddin Saifuddin Rahman, known as Pappan, played by Vijay Varma. He struggles to save his late father’s Urdu press in Old Delhi from collapse as mounting debt threatens its survival. His younger brother Jumman, played by Rohan Verma, believes compromise is the only solution. Pappan disagrees. For him, the press is sacred.

Deception, poetry and inner conflict

Pappan travels to Malerkotla to find the legendary poet Aziz Beg, portrayed by Naseeruddin Shah. He hides his true intent, posing as a disciple while quietly collecting unpublished poems to revive the press. As he studies Urdu and tehzeeb, guilt begins to grow. He realises Aziz withdrew not out of pride, but heartbreak — over the “commercialisation of the word” and the dominance of the “bazaar”.

Love that grows in stillness

Pappan also falls for Mannat, Aziz’s daughter, played by Fatima Sana Shaikh. She is cautious — a divorcee and a schoolteacher. Their bond builds slowly, in silences more than declarations. When the truth surfaces, Mannat sees his actions as a breach of trust. The emotional weight deepens with the revelation of Aziz’s past friendship with Pappan’s father.

Choosing honesty over triumph

The film avoids dramatic confrontations. Pappan chooses candour. He accepts failure as a businessman and rejects hollow success. Aziz forgives him, seeing him as the language’s true mustaqbil. The manuscripts are not sold; they are gifted. Back in Delhi, Pappan stops the sale of the press. He chooses a slower, more dignified path — craft over scale.

A quiet ending in a changing world

The love story ends in thehraav. No spectacle, just calm understanding. The final image shows an early mobile phone, signalling the end of letters and typeset poetry. The irony lands softly: the press survives even as paper begins to fade. Critics called the ending “too convenient”, but many praised its mood. Anchored by Shah’s “Ghalib-esque” presence and Varma’s restraint, Gustaakh Ishq lingers long after it ends.

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