The new trailer doesn’t just bring back Ronnie—it rips open the rulebook. Billed as the “bloodiest love story of the year,” Baaghi 4 throws Tiger Shroff into a savage, psychological maze where love, memory, and violence blur into one long, bruising chase. Directed by A Harsha and produced by Sajid Nadiadwala, the film hits theatres on September 5, 2025, with Sanjay Dutt stepping in as a chilling antagonist. Harnaaz Sandhu plays Alisha—the woman Ronnie is desperate to find—while Sonam Bajwa muscles into the action fold.
Inside the trailer: violence, doubt, and a man on the edge
The cut runs a little over three minutes and wastes no time. It opens on Tiger’s Ronnie in full assault mode—bone-crunching hand-to-hand fights, close-range takedowns, and a sense that he’s running on pure instinct. The hook isn’t just the violence; it’s the confusion. Ronnie has memory gaps. People around him whisper that Alisha doesn’t exist, that he’s chasing a ghost built out of trauma. The trailer keeps you guessing: is this a rescue mission, or a breakdown unraveling in real time?
Harnaaz Sandhu’s Alisha appears as the beating heart of Ronnie’s obsession, seen in flashes that might be memories or hallucinations. The tone is colder than earlier films—drenched in shadow, metal, and rain. The action leans on practical stunt work: long physical exchanges, disorienting handheld shots, and a brutal emphasis on body impact. The blood is front and center. Beheadings, impalements, and ruthless executions push the film into territory Hindi mainstream usually skirts.
Enter Sanjay Dutt. The trailer shapes him as a classic, towering villain who doesn’t shout—he sizes you up. One sequence stands out: a church, stained with candlelight and blood, Dutt’s face marked and calm, like violence is a language he’s fluent in. It’s hard not to think of Khalnayak and his recent run of menacing turns. The promise is simple: Tiger versus Dutt, two different schools of screen aggression, one collision course.
Sonam Bajwa shows up not as a bystander but as part of the fight. Her scenes suggest a character tied to the mission, capable in combat, moving with the pace of the film’s action grammar. Tiger, meanwhile, cycles through multiple looks—one of them in naval uniform—hinting at a past Ronnie can’t entirely access. The edit and sound design keep circling the idea: how much of this is in his head, and how much is the world lying to him?
The film’s tagline—“Yaha, Har Aashiq Ek Villain Hai” (Here, every lover is a villain)—doesn’t chase romance. It throws a punch at it. Love, the trailer implies, can justify anything. That’s the slippery moral pitch of this chapter.
- A psychological hook: amnesia, unreliable memory, and a lover who might not be real.
- Sanjay Dutt in full menace mode, with a standout church face-off teased.
- Unusually explicit gore for Hindi mainstream; the action aims to feel physical, not polished.
- Two prominent female roles—Harnaaz Sandhu as the axis of the mystery, Sonam Bajwa in active combat.
- Multiple avatars for Ronnie, hinting at a military past and fractured identity.
- A trailer cut that favors grit over gloss, with practical stunts leading the show.
What this means for the franchise—and for Hindi action
Baaghi has always been Tiger Shroff’s action calling card. The first film (2016), directed by Sabbir Khan, set the tone with a martial-arts-forward hero and a straight rescue plot. Baaghi 2 (2018) ramped up the scale under Ahmed Khan and turned into a box-office juggernaut. Baaghi 3 (2020) went even bigger but ran into the COVID shutdown as theatres closed days after release. Across all three, Tiger built a brand: sleek athleticism, clean technique, and a hero who doesn’t flinch.
Chapter four looks like a deliberate pivot. A Harsha—best known in Kannada cinema for gritty, mass-heavy action dramas—tends to coat his stories in texture: bruised worlds, morally gray men, and violence that leaves marks. That sensibility shows here. The fights aren’t just set pieces; they feel like an extension of Ronnie’s damaged mind. The camera lingers not on style but consequence.
This shift lines up with a broader mood in Indian action. Audiences have shown up for harder, meaner worlds—think the brutality of KGF: Chapter 2 or the unapologetic aggression in recent Hindi and pan-India action tentpoles. The Baaghi trailer leans into that appetite but adds a psychological riddle to keep the engine running between fights. The “bloodiest love story” framing isn’t just marketing; it’s a way to stake out a corner no one else is standing in right now.
There’s also the Dutt factor. After landmark villain turns early in his career, he’s been on a strong second wind playing antagonists with gravitas. He doesn’t need acrobatics to sell danger—just presence. Pairing him with Tiger, who trades in speed and athletic damage, sets up a clash of styles that could give the film its identity. If the writing gives Dutt room to breathe, the face-offs could be more than just big punches; they could feel personal.
Harnaaz Sandhu brings crossover curiosity. A former Miss Universe stepping into a central role is always going to get eyeballs, but the trailer positions Alisha less as a glam insert and more as the central mystery. Sonam Bajwa’s inclusion adds another layer from the Punjabi mainstream, where she’s built a sizable following. If both characters are written with agency, it could lift the film beyond a one-man show.
On craft, the production looks expensive but not glossy. You can see money in the scale—set builds, location spreads, and the number of moving parts in the action—but the color palette stays dark and industrial. Fire, metal, rain, and night—those are the visual anchors. The decision to foreground practical hits over heavy VFX is smart for a franchise that sells physicality. If the film keeps that promise, the fights will feel heavier because you believe the bodies are actually colliding.
One unavoidable question: how far will the violence go in the final cut? The trailer is upfront about gore, including beheadings and impalements—imagery that Hindi films have usually toned down. That could mean a stricter certification and a lean into adult audiences. If the storytelling backs it, the risk could pay off by giving the franchise a sharper edge instead of safe repetition.
Marketing-wise, the “every lover is a villain” tag is clever. It reframes Ronnie not as a clean hero but as a man blinded by obsession. If Alisha is real, he’ll burn the world to reach her. If she isn’t, he’ll still burn it—and that makes him dangerous. That ambiguity is the hook that could keep the plot from becoming just another rescue mission.
Release timing—September 5, 2025—positions the film for a clear, late-monsoon slot with room for an aggressive promotional run. Expect character promos, behind-the-scenes stunt reels, and music drops that skew darker than the earlier Baaghi soundtracks. The big test won’t be scale; it’ll be cohesion. Can the film knit its psychological thread with its action without dropping either?
The franchise is at a fork. Go bigger and you risk noise. Go darker and you might find something new. The trailer suggests Baaghi has picked a lane: fewer quips, more scars, and a hero who may not be sure what’s real but knows how to make his punches count. If the final movie stays honest to that tone, Ronnie’s most brutal chapter could also be his most interesting.
