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Hamid's desperate desire for the return of his missing father, his unlikely phone-friendship with the trooper Abhay, and his eventual realisation that the father he so anxiously awaits will never return, are mapped in a labyrinth displaying the pathway of pain and suffering into the human heart.

Adapting this poetic political parable to the large screen, director Aijaz Khan forfeits none of Kashmir's scenic outdoor beauty, nor at the same time, does the film's frames look like touristic brochure.

As the story of little Hamid unfolds in a tapestry of pain and self-realisation, we are taken on a subtle tender yet revealing voyage into the valley of violence.

While the little boy Talha Alshad Reshi with his big questioning eyes is a natural-born scene stealer, Rasika Duggal as an impoverished single parent struggling to come to terms with the immensity of her loss, is the portrait of supreme conviction and credibility.

Curiously the film daintily steers away from getting into the murkier aspects of the mother's singlehood in a state ridden with predatory aggression.

For better or for worse, this gem of a film wants to steer its boat away from the violence that stares little Hamid and his mother in the face.

Rounding out this resonant raga of hope, the narrative concludes with little Hamid receiving some expensive paint to colour the boat the boy builds by embracing his father's craft of carpentry.

Red is the colour of blood and bloodshed. But in this film it is also the colour of hope and positivity. It's time to paint the Green Valley into postcardperfect shades again. Hamid brings hope. It's an irresistible piece on peace, and one that every Indian must see.

Subhash K. Jha