Nowadays, the problem of psychological insecurity, distrust and identity crisis have become a serious issue which affects human relationships and social values. Agantuk, directed by Satyajit Ray, delves into these questions by having an enigmatic step-relative, Manomohan Mitra, arrive at the household, sparking questions, curiosity, and unease among the middle-class Bengali family. The paper attempts to explore the psychological dilemma of trusting or doubting, and the film's critique of the modern notions of civilization, identity, and human relations. Ray's characters represent contemporary urban people suffering from emotional loneliness and mental disintegration, and fear and materialism have taken the place of true human contact. Manomohan Mitra is both an enigmatic other and a philosophical commentator on the hypocrisies of social convention, set and overwhelmingly dominant cultural identity markers. The film speaks in a symbolic language of dialogue, silence, interpersonal tension, and brings to the fore the suppressed anxieties of today. The research in this study, following psychoanalytical and existential theories, maintains that the film of Agantuk is more than just a mystery film but a profound psychological study of alienation, selfhood and the fear of the unknown. The paper also examines how Ray uses both the elements of a detective tale and the questions of philosophy to bring to light the precariousness of trust in today's society. The film's impact on today's world is still felt today, as in our globalized society, emotional alienation and identity crisis remain prevalent in human experience. As a result, Agantuk is a significant psychological work, which portrays the intricacies of today's life by shrouding them in mystery and human introspection.