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Best of Hindi and Telugu web series (2025): A fantastic year for Applause Entertainment across genres

An overview into some of the best web series from Hindu and Telugu with different storylines

2025 can be easily categorized as the year of Applause Entertainment whose CEO is Sameer Nair. The year started with the fabulous Black Warrant based on a book of the same name. The web series was directed by numerous people including the fantastic Vikramaditya Motwane. The show presented a very gritty picture of the deeply horrifying situations in a jail making reforms difficult. Next came Criminal Justice Season 4. Directed by Rohan Sippy Criminal Justice Season 4 did an excellent job in exploring issues like mental health and grey areas in marriage: Pankaj Tripathi returning back as Madhav Mishra did an excellent job as always combining humor with empathy.

Last but not the least Nagesh Kukunoor’s The Hunt “The Rajiv Gandhi Assassination Case) also won many hearts. The series was a gripping manhunt with multiple perspectives. The famous quote of “One Man’s terrorist is another man’s freedom fighter”, was explored well. Apart from the above-mentioned web series the other noteworthy ones include Paatal Lok Season 2, Khauf, Kankhajura, Waking of a Nation, Aashram season 3 part 2 and lastly Aryan Khan’s stunning directorial debut The Ba***ds of Bollywood.

As far as Telugu web series is concerned the year was pretty dull with just a handful of impactful shows. Deva Katta’s Mayasabha easily tops the list. Mayasabha was a welcome return to form for the director. The series doesn’t shy away from wearing its politics on sleeves especially the dialogues related to caste disparities. The talented Aadi Pinishetty got a solid role. He was seen as the fictional Chandra babu Naidu and the actor absolutely nailed it. Among others Devika &Danny had a good message of women empowerment through a friendly ghost. Lastly Arabic Kadali though a rehash of Thandel had its highs too. Director VV Surya Kumar did a fine job in dealing with the socio-political aspects. Also, the Pakistani characters had more depth in comparison to Thandel.

Following is an overview into the best web series of 2025 Hindi and Telugu

Black Warrant: Black Warrant directed by Vikramaditya Motwane, Satyanshu Singh and others presents a very gritty picture of jail life. How bringing reforms is extremely difficult was presented well. This web series is based on the book of the same name. The show focuses on the notorious functioning of the Tihar jail set in the 80’s. The base is Tihar jailer Sunil Gupta. Sunil Gupta was known for doing some great work. One of his major achievements is starting Tihar’s first legal aid cell. In spite of getting a secure railway job Suni Gupta pursued his dream of wearing a khaki uniform. Young actor Zahaan Kapoor successfully entered into the shoes of Sunil Gupta.

The web series did an excellent job in capturing the soul of the novel especially the intricate power structure and the various hierarchies based on both caste and religion. The characterization of Zahaan as Sunil Gupta was also well done starting off as a vulnerable young man to becoming more confident. Apart from Zahaan’s performance the supporting characters were also written with nuance especially Rahul Bhatt. Rahul Bhatt’s character is mostly selfish with moments of genuine empathy for his fellow men. The actor did an excellent job in portraying the different shades. Sidhant Gupta as Charles Sobharaj also shined bright. The women characters though needed better writing. Only Rajshri Deshpande made some impact as a firebrand reporter. Nevertheless, Black Warrant is a gripping watch.

Paatal Lok Season 2: Avinash Arun Dhaware’s Paatal Lok Season 2 is a fantastic dive into Nagaland’s socio political landscape. Along with creator Sudip Sharma he made a web series notches above the first one. A strong aspect of Paatal Lok Season 2 was the depiction of Nagaland politics. The contrast between the beautiful landscapes and the immense turmoil of the local population was wonderfully captured. One of the major themes in Paatal Lok Season 2 is the insider versus outsider topic. A section of people coming from outside pay a certain amount of money to a local group in hope of ensuring their safety.

But that isn’t enough on some occasions. This especially comes out in a super conversation between Jaideep Ahlawat’s Hathiram and a businessman. Talking about Jaideep Ahlawat the actor was superlative once again. The way he portrays the strong determination while battling professional and personal issues was a delight to watch: mention must also be made of Tilotama Shome playing SP Meghana Baura. As a local police officer and the solo woman, the character brings in an interesting female perspective into what is generally considered a male bastion. Ishwak Singh too made his presence amply felt as once upon a time junior and now Hathiram’s boss. There is a palpable thread of friendship amidst the awkward scenarios.

Aashram season three part 2: Prakash Jha’s Aashram season 3 part 2 was a satisfying conclusion. In spite of some elongated stretches the series makes the viewers ponder about the power held by these fake babas.

The strong determination of Aaditi Pohankar’s Pammi in bringing down the empire of Bobby Deol’s Niral Baba was a treat to watch. A major part of this plan is turning Niral Baba and Chandan Roy Sanyal’s Bhopa against each other. Pammi’s game of seduction though slow paced gave the show some of its best moments. Aaditi Pohankar did an excellent job in capturing the transformation from a victim to an avenger.

The web series also has some fantastic dialogues on aspects related to power and faith. In a very explicit manner Prakash Jha shows devotion being a double-edged sword. How playing with someone’s faith through numerous lies can take you down came out in an excellent manner. Bobby Deol as Nirala Baba was first rate especially in the scenes where the tables are turned against him. There is an important dramatic breakdown featuring the actor and Bobby did an excellent job. Chandan Roy Sanyal had a bigger canvas to play around with compared to the last seasons and the actor did a terrific job too.

Khauf: Khauf directed by Pankaj Kumar and Surya Balakrishnan is a slow burn horror thriller with real word issues. A strong aspect of Khauf is the technical department headed by a fantastic Pankaj Kumar himself. The hostel in which most of the story takes place became a major character in itself:  A sense of claustrophobia is palpable creating the right amount of tension. The setting of Delhi is also a masterstroke given the shameful scares associated beyond the gruesome Nirbaya case.

The different issues faced by modern female came out in an impactful manner especially with the main protagonist. Monika Pawar as Madhuri was absolutely fantastic in showcasing the varied emotions. A special mention must be made of the portions where the protagonist becomes more confident after being possessed by a certain thing. Rajat Kapoor in a terrifying negative role was first rate as well. He brought in the right amount of creepiness instilling fear in audiences minds.

Geetanjali Kulkarni in a grey shaded role was wonderful too. The way she oscillates between a worried mother and a tough police woman gave the show some of its best moments. The subplots connected to Madhuri’s hostel mates was also done well with each representing different kinds of issues faced by everyday women in society. One big problem with Khauf is the clichéd use of trauma as a way to give agency to a woman. Also, the show suffered from some abrupt tonal shifts. Nevertheless, Khauf was an excellent show for most part.

Kankhajura: Kankhajura is a gripping psychological drama about flawed humans. Director and writer Chandan Arora did a fine job in exploring the impact of childhood traumas specially bullying and how need for validification leads to manipulative behaviour. This show is based on a series called Magpie from Israel. A strong aspect of Kankhajura is the gradual building of tension. The aspects of past traumas, sibling rivalry and unresolved guilt were integrated well. The cinematography of Rajeev Rai and Vinod Illampally also added to the thrills. Though shot in Goa the web series presents the place in a very different way unlike the usual mainstream route.

Mention must also be made of how the women characters came out. Though a Roshan Mathew and Mohit Raina show reel the female protagonists have an important role too. Sarah Jane Dias and Trinetra Halder had a strong individuality especially the former. There are numerous portions in the series where Sarah Jane Dias is seen giving back to Mohit Raina’s Max about his unlimited greed. This strongness is maintained throughout and as a result the viewers cheer for her when she walks out of marriage. Trinetra Halder as a transgender also played her part with lots of grace successfully bringing out the inner strength.

Waking of a Nation: Ram Madhavani’s Waking of a Nation is a patience tester with the constant back and forth: nevertheless for history buffs especially the series is worth watching. This web series focuses on the events leading up to the horrific Jallianwala Bagh massacre through the eyes of a young lawyer Kantilal Saahani (a fantastic Taaruk Raina).

Kantilal Saahani is a beneficiary of western education making him an outsider amongst his group of friends. This character is apparently based on Sri Chamanlal Harilal Setalvad a man known for cross examining General Dyer.

A strong aspect of this Ram Madhvani directorial is the depiction of the political events leading up to the massacre. Ram Madhavani along his writers were especially good in shedding light on the controversial Rowlett act. The depiction of the massacre with just sound design and panic stricken reactions of the people gives a haunting experience too.

An important subplot in Waking of a Nation is the themes related to racial discrimination not just by the British; it’s also about the discrimination followed by fellow Indian on the basis of caste and religion. The underlying message is about the need to stay united irrespective of caste and religion. This is an important message keeping in mind today’s divisive political environment.

Ba***ds of Bollywood: Aryan Khan could have easily chosen to be a leading man with his background of badshah Shah Rukh’s Khan son. Instead, Aryan chose to be a director showcasing his uniqueness. Ba***ds of Bollywood is a wonderful whimsical ride with strong satire. Much like Zoya Akhtar’s Luck By Chance the Ba***ds of Bollywood too is a percipient take on the starry world of movies. But this one goes a step ahead in dealing with the insider and outsider debate along with exploitative producers coupled with the uncertain nature of fame etc.

Lakshya Lalwani’s Aasman is an outsider going through a roller coaster ride of different emotions. The series features a number of cameos from Ranveer Singh, Karan Johar and Emraan Hashmi among others. Emraan Hashmi as an intimacy coach works the best among the extended cameos. Raghav Juyal’s reaction on seeing Emraan is priceless. The character goes into a complete fan mode singing Emraan Hashmi’s famous songs. Emraan’s absolute bewilderment on how to deal with the fan boy moment coupled with Raghav Juyal’s acting is simply fantastic. Apart from the glossy packing the show also has some strong emotional moments. A specific mention must be made of Anya Singh in the role of Aasman’s manager. She lends in certain gravity as a trusted ally making the viewers wish that they also had a loyal manager like her. Mona Singh and Vijyant Kohli in the role of parents were wonderful too like the sequence where the father gives an important advice on never backing down. The friendship between Lakshya and Raghav also gave the show some of its best moments. It was wonderful to see the different dynamics after last year’s Kill.

Lakshya as Aasman showed that Kill was no fluke coming up with a solid act. He brought alive the determination of Aasman as well as a certain cheeky nature. Bobby Deol as one of the primary villains continued his golden form bringing in both a starry aura as well as solid acting chops. Overall Aryan established himself as a promising masala director especially the climatic twist. He definitely made his father proud.

Best Telugu web series (2025)

Mayasabha: Mayasabha directed by Deva Katta is an excellent socio-political drama. The web series as earlier said doesn’t shy away from wearing politics on its sleeves especially the dialogues related to caste prejudices. In simple terms the story is based on Chandra Babu Naidu and late Rajasekhar Reddy.  The fictional names are Karakala Krishnama Naidu and Dr MS Rami Reddy. Aadi Pinishetty and Chaitanya Rao did an excellent job in their respective parts.

The dynamics between the two principal actors was one of the shows biggest strengths. How they start as idealists with a common aim of transcending social divisions and their differing responses to societal pressures were written with nuance. The portions of two disagreeing offers a fresh take on political rivalries by never getting venomous. Maysabha also deserves credit for the way it gives voice to the marginalized. There are disturbing scenes of people caught in a major crossfire due to power hungry politicians. The character of Ravindra Vijay wanting to shield his family from violence is a perfect representation of this theme.

The supporting cast were also excellent especially Divya Dutta and Sai Kumar. Divya Dutta playing the role of Indira Gandhi had a commanding presence. The track of emergency has a contemporary touch especially in the dialogue “You will give birth to a line of dictators who will use your method, impose emergency and not even call it one.” Sai Kumar as the legendary NT Rama Rao shined with his strong voice modulation and a powerful presence.

Devika &Danny: B Kishore Devika &Danny is an interesting mix of supernatural elements and a young woman breaking out of self-imposed shackles. The web series has simple but effective storytelling. The show starts off as an anthesis to one of Ritu Varma’s hit movie Pelli Choopulu. Devika lacks a certain agency unlike Chitra from that movie at least in the initial portions. This is established in a very effective manner setting the tone for the subsequent transformation. How a ghost played by Surya Vashishta becomes a medium for this gives the show some of its best moments. There’s nothing unpredictable here but the small nuances make a big difference.

B Kishore also did a good job in addressing generational through the roles of Gopuraja Ramana as Devika’s prospective father in law. Subbaraju played the role of Devika’s fiancée. Both the actors did justice to their parts especially Subbaraju with his serious expressions and a certain exasperation.

In the role of Devika Ritu Varma delivered an assured performance with the right mixture of vulnerability and inner strength. Surya Vashishta as the friendly ghost was charming too making the viewers wish that the two had met in different circumstances. 

Arabic Kadali: Arabic Kadali directed by VV Surya Kumar had a major hangover of Thandel with its themes. Nevertheless the show is worth watching for its handling of socio-political aspects. A special mention must be of the Pakistani characters who are presented in a much more layered manner. A good example of this is the scene where a judge is seen defending Indian fishermen in front of Pakistani officials. Even Amit Tiwari as the evil warden gets a credible redemption arc too.

Lastly Poonam Bajwa playing Dr Fatima isn’t afraid to express her opinions. The actress played the role with the right amount of warmth and authority. Arabic Kadali though doesn’t just confine itself to Indian Prisoners languishing in Pakistani jails; it also talks about the Pakistani ones in a similar situation. The underlining message is the need for humanity across borders.

Satyadev in the role of Badri makes sure that the character’s saint like nature never comes across as irritating. The actor is especially impressive in the scenes of emotional vulnerability. Anandhi as Ganga also did a good job in portraying the inner strength. Much like Sai Pallavi in Thandel she too is a woman of steel not letting cynicism get to her. Yes the love story could have done with more intensity still the viewers root for Badri and Ganga to get together.  

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Kalamkaval: More of a Mammootty showreel

Kalamkaval is an absolute treat for Mammootty die-hard fans. The actor does a fantastic job as the charming serial killer, but the film needed more polish. The women targeted by the protagonist have been written with zero care making it difficult to care for them. Vinayakan as the determined cop proves to be the perfect foil with his understated but very effective act.

Starcast: Mammootty, Vinayakan and others

Genre: Crime

Director and writer: Jithu K Jose

Additional writer: Jishnu Sreekumar

Producer: Mammootty

Production Company: Mammootty Kompany

Music: Mujeeb Majeed

Cinematography: Faisal Ali

Running time: 2 hours and 17 minutes

The story of Cyanide Mohan a notorious serial killer has caught the fancy of numerous filmmakers. Both movies and web series on how he trapped women systematically have come in the recent past. A good example is Dahaad streaming on Amazon Prime. The web series had the excellent Vijay Verma in the role of a supposedly mild manner college professor and a noble man doing social service. His actual reality though is something else. The 2025 Zee 5 Film Bhagwat Chapter one: Raakshas saw the Panchayat actor Jitendra Kumar in a surprisingly dark role.

Vijay Verma in Dahaad

Now you have Kalamkaval also inspired from the same terrain. The big difference here is the presence of the legendary Mammootty as the ladies’ man/psychopath. As earlier said the film often plays like an expensive showreel with him getting the meatiest scenes. This is both a plus and a minus: something which I will get to later. In simple terms Kalamkaval focuses on a seemingly ordinary man targeting a specific category of women. There are zero surprises regarding his identity. So, the question here is more about how the antagonist gets caught through the efforts of a honest and resolute cop Jayakrishnan (an excellent Vinayakan).

A strong aspect of Kalamkaval is the chilling atmospherics. A major credit for that goes to background score and cinematography. The shift of mood when Mammootty goes from charming to a beast has been wonderfully done. It gives ample thrills making the viewers scared about the protagonist’s psychological mindset. The cinematography is of an excellent order too. The duality of the antagonist with a sharp contrast between his family life and the sinister side is first rate. Both Mujeeb Majeed and Faisal Ali deserve distinction marks for a job very well done.

Mention must also be made of the psychoanalytical commentary. There is an important conversation between Jayakrishnan and his senior officer about the extreme dark nature of human beings. The conversation raises some important points on how the minds of a certain section work. This portion is brief, but it gives a psychological insight into the modus operandi of men like Cyanide Mohan.

It goes without saying that Mammootty is excellent. In spite of playing an antagonist previously too like Puzhu and Bramayugam the veteran actor shines bright even when proceedings start to get repetitive. How he turns the charms on when required and unleashes the venomous side strategically is a masterclass in acting. Vinayakan as Jayakrishnan is more subdued but the actor more than makes his presence felt. He is first rate in capturing the gritty nature of an honest cop.

Other than the two leads no other actor registers and this is a major issue with Kalamkaval. The women targeted by Mammootty especially have zero shades. They mostly exist to be impressed and then killed. This aspect makes Kalamkaval somewhat a tedious experience. Also, the stylish presentation of a serial killer to the point of romanticization needed to be avoided. A more earthy approach would have helped the proceedings.

The movie also suffers due to a major hangover of both Dahaad and Bhagwat Chapter one: Raakshas. The former particularly comes to the viewers mind especially for those who have seen the web series. The slow pace of police investigation and also the duality between antagonists’ domestic life and what he actually is feels like a major replica of that one.

Final word: Kalamkaval is worth watching to see Mammootty experimenting with different roles but a tighter narration with better women characters would have enhanced the final product.

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Dhurandhar: A gritty but overstretched spy saga

Aditya Dhar’s second directorial is high on style and solid word building but suffers due to an overblown narrative. The predictable beats of jingoism with Pakistan as the arch enemy gets tiring. Akshaye Khanna steals the show as the swashbuckling Rehman Dakait. He overshadows leading man Ranveer Singh on numerous occasions

Starcast: Ranveer Singh, Akshaye Khanna, R Madhavan, Arjun Rampal, Rakesh Bedi, Sanjay Dutt, Sara Arjun and others

Genre: Action/drama

Writer, director and producer: Aditya Dhar

Additional Producers: Lokesh Dhar and Jyoti Deshpande

Production Companies: Jio Studios and B62 Studios

Music: Shashwat Sachdev

Cinematography: Vikas Nowalakha

Running time: 3 hours and 32 minutes

Aditya Dhar has made a solid place for himself as a patriotic storyteller. Whether its Uri: The Surgical Strike or Article 370. The latter wasn’t directed by Aditya Dhar but he was one of the screenplay writers along with the story. These films are well mounted nationalistic movies making them even more dangerous. Dhurandhar belongs to the same terrain with high pitch nationalism and a solid technical department.

The storyline of Dhurandhar starts off with the 1999 Kandahar episode followed by the 2001 Parliament attacks. This leads to the formation of operation Dhurandhar. R Madhavan is Ajay Sanyal based on National security advisor Ajit Doval. Ranveer Singh is the undercover spy tasked with an enormous responsibility. He has to win the trust of an influential figure Rehman Dakait (a scene stealing Akshaye Khanna). Nothing more can be revealed as the plot is very dense with switching loyalties and backstories.

A strong aspect of Dhurandhar is the recreation of 200’s Pakistan. There is a gritty texture to the depiction of gang wars and Pakistan’s political atmosphere. A major credit for that goes to production designer Saini S Johary. The settings have an authentic tone successfully transporting the viewers. The audiences feel that they are travelling alongside these characters. The cinematography of Vikas Nowalaka is of a good order as well. The way he captures the tension filled atmosphere with a particular lighting as well as the sweeping landscapes is first rate. Shashwat Sachdev’s background score is also rousing. The songs are more experimental than of the popular type, but it goes with the movie’s narrative.

The action chorography is deliberately gruesome: at the same time the way it has been shot especially hand to hand combats is praiseworthy. The climatic faceoff between Sanjay Dutt and Akshaye Khanna particularly stands out. The physical agility of both the actors is commendable.

The performances of the vast ensemble also help this sprawling saga. The ones who stands out are Akshaye Khanna and Rakesh Bedi. Akshaye Khanna has always been a chameleon and here too the actor is first rate. As the Karachi inspired crime lord Akshaye chews the scenery with his effortless acting. There is a magnetic charm about the man in spite of the brutality. In spite of the brutal nature there is also an emotional side: this comes out in an impactful manner during the portions of son’s death, and the actor simply nails the different shades. When Akshaye is there on the screen it’s hard to take your off him. The combination scenes between Ranveer and him is a solid example of this. Rakesh Bedi as the cunning politician also makes a strong impact. His character switches colors like a chameleon and Rakesh Bedi does complete justice to it. The scenes featuring Rakesh Bedi gives Dhurandhar some of its best moments.

R Madhavan as the fictional Ajit Doval brings in an understated gravity. Sanjay Dutt as the Pakistani cop desperate to settle scores with Rehman Dakiat also makes his presence amply felt. Arjun Rampal as the volatile ISI agent is also good with his sinister villainy. Ranveer Singh gets somewhat lost in this huge cast. His character is more internalized and Ranveer does well: however, the killer impact is missing. The actor only comes alive only in the pre climax where he lets it all out.

Sara Arjun as the love interest though sticks out like a sore thumb. More than the glaring age gap what sticks out is how fast her character falls in love with the hero. It happens over an escape from a police raid. The way Ranveer flirts with Sara Arjun’s Yalina is more chessy than romantic. Other than being a moral support for the hero Yalina has nothing more to do. For a nineteen-year-old Yalina has zero interest in doing anything with her life. Infact the movie has no prominent female characters. Another major problem with Dhurandhar is its exhausting length coupled with the familiar anti Pakistan position. The depiction of Pakistan as the hub of all terrorist activities is a done to death trope. It doesn’t evoke much reactions especially for the neutrals who aren’t into Pakistan bashing. The movie also features dialogues which are a throwback to Uri: The Surgical Strike. They come across as cliched rather than rousing.

The second half also meanders with some superficial arcs. Some of the subplots are merely touched as a founding stone for the second part. This results in a certain fatigue making the viewers wish that the film concludes soon.

Final word: Dhurandhar is best enjoyed for those who like gritty action dramas with ample doses of patriotism and let’s hate our neighbor.

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Tere Ishq Mein: A headache in the name of intense love

Tere Ishq Mein often feels like a friendship meet between Kabir Singh, Animal and fighter. Aanand L Rai and his longtime collaborator Himanshu Sharma pick elements from various movies: the end result is let’s hate a woman for rejecting the hero, how dare she marry someone else. The problematic representation of mental health also adds to the agony. The cliched use of trauma as a justification for protagonist’s violence is the final nail

Starcast: Dhanush, Kriti Sanon, Prakash Raj, Tota Roy Chowdhury and others

Genre: Romantic drama

Director: Aanand L Rai

Writers: Himanshu Sharma and Neeraj Yadav

Producers: Aanand L Rai, Himanshu Sharma, Bhushan Kumar etc

Production Companies: Color Yellow Productions and T Series Films

Music: A R Rahman

Cinematography: Tushar Kranti Roy

Running time: 2 hours and 49 minutes

There is a very thin line separating intense love and celebrating problematic characters under the disguise of romance. Mohit Suri’s Saiyaara was an intense romantic drama done right. Yes, Ahaan Pandey’s Krish Kapoor starts off as a hot-headed young man with temper issues: however, the second half sees a major change with the hero becoming a devoted boyfriend putting his love above the need for fame. By the end the hero strikes the perfect balance between ambition and standing for his love. Tere Ishq Mein on the other hand has very harmful gender politics. The hot-headed nature of Dhanush’s Shankar is often passed as heroism and deep love.

The storyline of this convoluted mess begins with a scene firmly establishing the hero’s aggressive nature. Shankar (an intense Dhanush) is a fighter pilot facing disciplinary action. Shankar needs a mental health certificate clearance stating that he is fit to participate in an ongoing war. Kriti Sanon plays a supposed psychologist Mukti which is more unintentionally funny. Mukti has a complicated past with Shankar: this is revealed gradually with numerous flashbacks.

Looking for positives in a train wreck like this is similar to searching for a needle in Haystack. Still to give credit where its due Prakash Raj as Shankar’s concerned father strikes an emotional chord. The veteran actor especially shines in the sequence of pleading with Mukti’s father (a suitably arrogant Tota Roy Chowdhury). There is also a very poignant father and son moment explaining why Shankar becomes a fighter pilot instead of pursuing UPSC. Tota Roy Chowdhury as the upper-class aristocrat has a strong presence. His attitude towards Shankar has a condescending nature but as a father it’s understandable why he wouldn’t want a guy like Shankar to be his son- in- law. It also doesn’t help that Shankar continues to be a proud alpha.

Dhanush as Shankar brings his trademark earnestness. The south Indian accent along with the character’s nature stops the viewers from being completely invested. But Dhanush’s efforts as a performer cannot be faulted. He is especially good in a heartbreak sequence involving Kriti. The questions that he asks about Mukti using him as a guinea pig for her psychological study of violence is genuinely good.

As far as the flaws are concerned the basic premise is the biggest problem. Mukti’s obsession with getting her thesis done and a certain overconfidence on her ability’s reeks of stupidity. She is very much aware of Shankar’s temper and how dangerous he can be: In spite of being aware Mukti invites self-trouble. As a professor rightly says Mukti could have chosen another subject area for PHD thesis rather than I will go out of my way to reform a violent man. This in itself becomes a major obstacle for sympathizing with Mukti. Also, the character graph from a confident young woman to walloping in self-destruction has many tonal problems.

For a supposed psychologist Mukti has zero control over her emotional turmoil. There are numerous sequences of her drinking and vomiting. This happens even when she is pregnant. As a viewer you really feel for the on-screen husband who in spite of knowing her complicated past and an inability to get over stands with her.

Shankar for all his temper issues at least becomes a fighter pilot which is a huge improvement from Raanjhanaa. The entire arc of Mukti in simple terms is spinless. This is in a very sharp contrast to a movie like The Girlfriend where Rashmika’s Bhooma goes from timid to assertive. Even Shivani Nagaram’s Khathyayani in Little Hearts does a much better job in handling pressure and exercising her choice. Kriti tries her best but there isn’t much she can do with a self-defeating woman like Mukti.

There is also a forced link with Raanjhanaa with an extended special appearance of Mohammed Zeeshan Ayub. His attempts at philosophical puns on Shiva and Mukti is completely out of place. It irritates the viewer’s big time. Both the writing and the dialogues don’t help. The portions of Dhanush pursuing UPSC is also very shabbily done. It will make the fans of 12th fail movie squirm in their seats.

Finally, Tere Ishq Mein’s attempt at handling different threads like class differences, Emotional trauma due to a loss of parent etc. is simply surface level. Most of it is used for convenient dramatic moments.

AR Rahman’s music works in parts. The theme song coupled with a Sufi track Deewana Deewana is striking. Tushar Kranti Ray’s cinematography is effective in capturing the different moods of the movie.

Final word: Watch Tere Ishq Mein only if you are in the mood for heartbreak and are fans of doomed love stories.

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Andhra King Taluka: A fan’s engaging love letter

Unlike Maneesh Sharma’s Fan Andhra King Taluka does a much better job in using the emotional bond between a devotee and his favorite actor. Ram Pothineni finally gets a noteworthy part, and the actor does a very good in portraying the different nuances. Upendra in an important supporting role lends gravity as Sagar’s idol. The heartfelt conversations between the two is the soul of Andhra King Taluka. At the same time the underwritten love story plays a major spoilsport

Starcast: Ram Pothineni, Upendra, Bhagyashri Borse, Rao Ramesh, Murali Sharma and others

Genre: Drama/romance

Director and writer: Mahesh Babu Pachigolla

Producers: Naveen Yerneni and Yalamanchili Ravi Shankar

Production house: Mythri movie Makers

Music: Vivek Mervin

Cinematography: Siddartha Nuni and George C Williams

Running time: 2 hours and 43 minutes

There is something magical about the bond shared by a fan with his favorite actor or actress. You may never meet that person and he or she will probably never know about your existence. But the influence of the characters played by an actor that you adore stays permanently. This can be both positive and negative depending on the audience mindset. Movies about fans and their favorite stars have been made previously too but Andhra King Taluka holds a certain novelty. The freshness majorly comes from how Ram’s Sagar learns many life lessons from the on-screen characters of his idol. How the paths of Ram and Upendra meet leading to a heartfelt conversation is touching.

The story of Andhra King Taluka begins with the introduction of Upendra’s Surya. A major star going through a financial crisis now. His 100th movie is shelved and some people are after him to give the money back. At this crucial point a large amount is deposited in Surya’s account in the name of Sagar. Surya is curious about the identity of Sagar and on some research, it is found that Sagar is the president of fan’s association called Andhra King Taluka. Surya decides to meet Sagar personally leading to a life changing journey.

A strong aspect of Andhra King Taluka is the depiction of fan mania. Yes, Sagar’s excessive devotion towards Surya may across as melodramatic for some but anyone remotely aware of how fandom plays out will understand Sagar’s extreme love. There is an important flashback too explaining Sagar’s nervous issues. How in moments of fear he starts to stutter. A major reason for Sagar becoming more confident are the movies of Surya with numerous life lessons.

This gives an important emotional edge unlike Fan which portrayed fanism in a negative light. The issues of Sagar’s village in East Godavari and how the hero decides to make things better is also interesting. Its connected to Bhagyashri Borse’s Mahalakshmi. The romance between the two is severely underdeveloped nevertheless Bhagyashri Borse has a charming presence. The love ballad Nuvvante Chale featuring the two makes for a soothing listen and watch.

Andhra King Taluka also benefits from some strong dialogues written by Mahesh Babu Pachigolla himself. For example, there is a portion where Upendra says I may not be aware of who Sagar is but it’s because of fans like him that I am here. Similarly, the climax portion where Sagar talks about the numerous lessons Surya has given him is also touching.

The cinematography of Siddartha Nuni and George C Williams is eye pleasing. The visuals are in perfect sync with the movie’s feel-good tone. The music is also of a good order. The songs especially Nuvantee Chaley and Chinni Gundelo stand out for its melody and the colorful palette.

Ram as already said is top notch in the role of Sagar: whether it’s the devotion of a fan or the more intense moments like the fantastic pre interval block with Murali Sharma. Apart from Upendra Rao Ramesh as Sagar’s father also stands out especially in the scene where he backs up his son’s plans.

Coming to the flaws the love story as already said is severely undercooked. More scenes between Ram and Bhagyashri Borse would have enhanced the romantic parts. More so given the deep love that Sagar has for Mahalakshmi. There is also a moment with Sagar sacrificing something deeply emotional for an actor whom he has never met. This will appear silly for a section of audiences.

Final word: Andhra King Taluk makes for a nice feel-good movie especially if you have been a die-hard fan of any actor or actress.

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The Family Man Season 3: A formidable follow up with bigger stakes

Directors Raj &DK, Suman Kumar and Tusshar Seyth do a good job in depicting the complexities of northeast. Like the previous seasons here too the characters come with shades of black and white. Yes, the series doesn’t quite match up to the previous ones nevertheless there is a lot to enjoy. The performances led by the ever-reliable Manoj Bajpayee and Jaideep Ahlawat deserve a special mention.

Starcast: Manoj Bajpayee, Jaideep Ahlawat, Sharib Hashmi, Nimrat Kaur, Priyamani and others

Genre: Thriller/drama

Directors: Raj &DK, Suman Kumar and Tusshar Seyth

Creator and writer: Raj &DK

Producers: Raj&DK

Production Company: D2R Films

Music: Sachin-Jigar, Ketan Sodha

Cinematographer: Jay Charola

Streaming site: Amazon Prime

No of episodes: 7

Before dissecting the third season of Family Man it’s necessary to acknowledge how much the representation of Northeast has changed. From a visual prop to now a living and breathing entity. The specialty of The Family Man series has always been a certain grounded nature with a relatable protagonist. In Season 3 there is a moment where Manoj Bajpayee finally reveals his real job nature to the family. The grown-up son played by an endearing Vedant Sinha has an exciting reaction saying do you have a code name like Tiger, lion etc. Srikant replies that he works for the intelligence and not circus. This simple but effective conversation sums up why The Family Man series has always been special differing vastly from YRF’s route of fantasy spy heroes.

Without giving much away season 3 focuses on a new project called Sahakkar. The aim is to help the northeast states who are deprived of development and peace with the common man suffering the most. However, things take a dramatic turn due to some bomb blasts putting the project on temporary hold.

Manoj Bajpayee’s Srikant Tiwari and Dalip Tahil as NIA chief Gautam Kulkarni meet a very respected leader David Khuzou (Sunil Thapa) to bring the project back on track. However, a major obstacle comes in the form of Jaideep Ahlawat’s Rukma. Rukma is a hit man and a drug baron but interestingly he doesn’t take drugs or drinks personally. Srikant Tiwari becomes a suspect due to certain circumstances. From being a respected spy, he becomes the most wanted man. This is the story in brief.

A strong aspect of season 3 is the humanistic lens through which the directors and writers have depicted complex political issues. The representation of northeast people and the state’s situation has a nuanced touch. Even the rebels headed by Paalin Kabak’s Stephen Khuzou are treated in a sympathetic manner. The ideological differences between Stephen and David in spite of the same goal has been both well written and enacted. At one point Srikant and men get shelter from Stephen in very dire circumstances. There are some heartfelt conversations between Srikant and Stephen when the latter opens about picking up a gun at a young age.

In more ways than one the viewers feel they are watching the continuation of Paatal Lok Season 2. This is also due to the presence of Jaideep Ahlawat this time on the other side of the fence. Yes, Paatal Lok Season 2 took a more layered look at the northeast complexities nevertheless what Family Man Season 3 pulls off is also commendable.

The locations of northeast become a major character in itself. It helps in shaping up the tension particularly in the sequences where Srikant and co are on the run. Cinematographer Jay Charola deserves a major appreciation for how he has captured the different moods of northeast landscape through his lens. The music composed by Sachin- Jigar along with Ketan Sodha has a nice northeast flavor adding to the authenticity.

Even the antagonists especially Jaideep Ahlawat has some interesting touches. Rukma can be extremely brutal brilliantly established in his intro: at the same time, he has a different side. This especially comes out in the portions with the girlfriend and the segment when he is trying to embrace fatherhood. Jaideep does a fantastic job as always pulling off the different shades with finesse.

Nimrat Kaur playing an elegant villain brings in the right amount of ruthlessness and charm There are some unsaid feelings in the portions featuring Jaideep and Nimrat. The writing here does fall short but the actors more than make up for it.

The depiction of family dynamics also deserves a mention. The falling marriage and Srikant’s exasperation at everything from bureaucracy to the children’s teenage moods have been wonderfully written and enacted. A special mention must be of a scene where Vedant Sinha’s Athrav patiently explains to his father about nonbinary terms and gen ze slangs in general. Srikant has a bemused, but earnest look on his face genuinely showing interest. As Srikant Manoj pulls off the various shades with his usual finesse. Whether its sarcasm, vulnerability and a fighting spirit even when everything is falling apart.

Sharib Hashmi returning as JK is in great form too. His humor as always is impeccable like the train scene featuring Paradha actor Raj Mayur. JK tries to present himself as a Telugu person leading to a hilarious cooked up story from Srikant. This portion is small but very entertaining. At the same time the scenes featuring JK and Srikant have an emotional resonance when Srikant opens up about a past mistake. JK comforts Srikant by saying that he should focus more on how to get out of the current mess. Mention must be also made of Vijay Sethupathi respiring his role from Farzi. It’s a short but a memorable cameo. The banter between Vijay and Manoj is a treat to watch.

As far as the flaws some subplots are left hanging. This includes the daughter being bullied at school for her opinions. Even the professional life of Priyamani’s Suchitra needed a better handling. Priyamani brings in an emotional heft though the writing doesn’t support her. The same applies to Seema Biswas playing the role of PM Basu. In comparison Shreya Dhanwanthary gets a better arc as the ambiguous Zoya, and she does a very good job. The series also tries to poke fun at the Alpha male image with Athrav taking advice from JK on how to impress his crush with macho methods. At the same time the sister drops in saying how typical is it of two males discussing what a female wants. This is an interesting thread to explore but the makers dump it midway.

Final word: The Family Man Season 3 is worth watching for its depiction of northeast complexities and of course if you are a fan of Manoj or Jaideep.

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The Palace of Illusions: A gripping psychological insight

Novelist Chitra Banerjee Divakaruni does a good job in not giving a voice to Draupadi: but there is also a contemporariness by analyzing the expectations Draupadi was burdened with. Both as a woman of five husbands and queen of Hastinapur. The subtle wit of Draupadi along with an unapologetic attitude makes The Palace Of Illusions a very engaging read.

The character of Draupadi in the epic Mahabharata shares than one similarity with the famous Helen of Troy. Both the women are treated as the major reasons behind the massive conflicts when in actuality it was the actions of men which drove the situation. Coming to Draupadi she is easily one of the most complex personalities in Mahabharata. A woman often becoming a pawn in the ego tussles of the men around her. Someone with not much say going through the worst of humiliations.

There have been numerous retellings of both Mahabharata and Ramayana: however there have been far and few when it comes to retelling of epics from the main female protagonist point of view. Before The Palace of Illusions there was Yagnaseni written by Pratibha Roy. Pratibha Roy also did a fine job in presenting Drapudi’s point of view by taking the popular perceptions head on. There is a visible angst in the way the protagonist questions things. The Palace of Illusions is another worthy addition.

Yagnaseni and The Palace of Illusions

Since the story of Drapaudi is well known I wouldn’t get into the plot. Instead, directly jump into my brief take on what makes The Palace of Illusions an engaging read. As earlier said Chitra Banerjee gives a contemporariness to the conflicts placed by Draupadi. For a large part of the novel Drapaudi is seen grappling with her complex emotions towards the five husbands. All the five fail her in different ways. The emotional labor faced by a woman in a relationship comes out in a stark manner. These complex emotions though aren’t just confined to marriage but also her role as a Hastinapur queen.

These portions have a relatable parallel to the balancing act of a modern woman. However, what makes The Palace of Illusions stand out is Draupadi’s sharp wit. There is an unapologetic attitude in the way Draupadi contemplates the situation around her. These includer her commentary on the flawed husbands or the dry humor about fate’s cruel sense of humor. These moments make the readers both chuckle and flinch.

By the end Draupadi emerges as a queen in her own right and not just as a wife of five husbands. Eventually her journey becomes a symbol of finding strength making this latest retelling a very contemporary read.

At the same time though Chitra Banerjee Divakaruni doesn’t shy away from presenting Draupadi with all her flaws. Whether it’s her jealousy towards the other Pandava women or having a certain vanity. But these elements make her a wholesome personality.

Mention must also be made of the track involving Karna and Draupadi. Yes, the writer has taken liberties here with zero mention of Karana’s wife, nevertheless an unsaid love between the two has come out well. Draupadi’s fascination with Karna during the swayamvar only to be sidelined later due to the prejudiced opinions of Krishna gives the novel some of its best moments.

Draupadi’s interactions with Krishna also adds an important layer to the novel. The friendship between the two has been etched well. Krishna comes across as a major confidant helping her to cope with challenges both personal and societal. Often times he comes across as a dearer one than the five husbands put together.

Final word: The Palace of Illusions is a must read for those who enjoy retelling of epics with a feministic tone.

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Kaantha: A strong beginning marred by an uneven execution

Selvamani Selvaraj does an excellent job in building up the tension particularly shining in his handling of psychological drama. The ego tussles between Dulquer and Samuthrikani has come out well with both men having flaws of their own. The prominent female character played by Bhagyashri Borse has some solid scenes too: but once the movie slips into murder mystery proceedings start to stagnate. The secondary characters with the interpersonal dynamics needed more texture.

Starcast: Dulquer Salmaan, Samuthrikani, Bhagyashri Borse, Rani Dagubatti, Ravindra Vijay and others

Genre: Thriller/drama

Director and writer: Selvamani Selvaraj

Additional writer: Tamizah Prabha

Cinematography: Dani Sanchez- Lopez

Music: Jhanu Chantar

Producers: Rana Dagubatti, Dulquer Salmaan and others

Production Companies: Spirit Media and Wayfarer films

Running time: 2 hours and 43 minutes

Some movies sound very promising on paper but get lost in translation. Kaantha is a perfect example of this category. The movie has big ideas with a potential edge of a sit thriller, but the film stumbles big time after solid world building. However, all isn’t lost thanks to the solid trio of Dulquer, Samuthrikani and Bhagyashri Borse. The dramatic portions exploring why things went sour between a superstar and a director/father figure has come out well giving a cautionary message on how bruised egos are never good and the need to sort differences. The surprise package though is Bhagyashri Borse something which I will get to later.

The timeline of Kaantha is 1950’s. Dulquer Salmaan is superstar TKM (Thiruchengode Kalidasa Mahadevan). His journey perfectly fits the caption of rags to riches. The movie begins with the death of Bhagyashri Borse’s Kumari. She is a first-time actress and a protégée of Samuthrikani’s TPK much like Kalidasa Mahadevan. TPK is also called as Ayya. The first half is primarily about the revival of TPK’s most ambitious project, a story connected to his mother’s death. How the film gets a second life amidst an air of tension and what led to the strained relationship between TKM and TPK occupies a major space. Running parallel to this is a budding love story between Kumari and TKM. Kalidasa Mahadevan finds true love with Kumari, but the path is riddled with obstacles. The second half slips into a murder mystery with numerous suspects and motivations. Rana Dagubbati is inspector Devaraj alias Phoenix. Devaraj has his own way of going about things. There is a quirky nature with some sarcastic humor.

A strong aspect of Kaantha is undoubtedly its world building. Selvamani Selvaraj along with Tamizah Prabha do a good job in gradually unravelling the tension. In the beginning the viewers are given the impression of TPK being a pure soul with TKM projected as narcissist with huge ego. However, as the movie progresses the viewers understand that both come with their own share of issues. TPK too has a god like complex on certain occasions making him no less of a narcissist.

The movie also does a fine job in depicting big male stars overriding director’s vision according to their whims and fancies so that the fans won’t get upset. There is a contemporariness though the plot is set in 50’s. The addictive nature of fame and what happens if a person isn’t able to have a levelheaded approach has been well written and enacted too.

Bhagyashri Borse as Kumari also has an important role. She is never reduced to a pawn and comes across as a strong woman who isn’t afraid to voice her opinions. Bhagyashri does an excellent job in bringing alive both the innocence and a strong-willed nature. Her presence can be felt even when Kumari’s isn’t physically alive.

Kaantha is also technically strong more so in the cinematography and background score. The cinematography of Dani Sachez Lopez is excellent transporting the viewers successfully back to 1950’s. He also does a fine job in capturing the tension filled atmosphere with the eerie settings and a certain kind of lighting. Jakes Bejoy’s background score is of a good order too especially in the portions of Dulquer and Samuthrikani’s face off. Both Dulquer and Samuthrikani don’t need a special introduction on their acting abilities and here too both shine equally. Two scenes deserve a particular mention. One is Samuthrikani’s breakdown where TPK expresses his regret on behaving in an egoistic manner and how they should have had a proper conversation fixing the issues. The second one involves Dulquer staring into a mirror. TKM shrinks back as he is confronted with uncomfortable truths. Dulquer is absolutely first rate in this.

Rana Dagubbati as Devaraj lifts a very muddled second half with his sarcastic humor. His way of investigating the case has some nice touches. A specific mention must be made of the scene where he is casually dismissive of TKM’s acting abilities.

A major problem with Kaantha are the underdeveloped secondary characters. The suspects barring Dulquer and Samuthrikani are hampered by sketchy characterizations. Even TKM’s interpersonal relationships with the wife and the father-in-law needed better writing. Selvamani Selvaraj tries to do an Agatha Christie but falls flat on his face.

Some of the characters like Kumari’s friend a fellow refugee from Burma had good potential but the weak writing plays a major spoilsport. The music also leaves something to be desired. A movie of this scale required better songs.

Final word: Kaantha can be watched for fans of Dulquer. The charismatic actor doesn’t disappoint but don’t except a wholesome experience.

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Haq: A gripping tale of perseverance and fighting for one’s rights

Director Suparn Verma does an excellent job in making sure that the movie doesn’t end up demonizing the Muslim community. It’s more about men twisting laws and using religion as an excuse to have their way irrespective of the faith. Yami Gautam as Shazia Bano is excellent as is Emraan Hashmi who has the trickier part. Both the writing and Emraan make sure that the husband doesn’t slip into a caricature

Starcast: Yami Gautam, Emraan Hashmi, Danish Hussain, Sheeba Chadda, Vartika Singh and others

Genre: Drama

Director: Suparn Verma

Writer: Reshu Nath

Based on: Bharat Ki Beti novel Jigna Vora

Producers: Harman Baweja, Vishal Gurnani and Juhi Parekh Mehta

Production Companies: Baweja Studios, Insomnia Films and Junglee Pictures

Cinematography: Pratham Mehta

Music: Vishal Mishra

Running time: 2 hours and 16 minutes

The landmark Supreme court judgement of Sha Bano upholding her rights of maintenance is a very significant one even today. Of course, the entire scenario took a political turn as well making it a matter of national debate; but beyond that it become a milestone case for women’s rights in this case an Indian Muslim. It raised questions about gender equality and protecting women’s rights. Haq directed by Suparn Verma and written by Reshu Nath successfully brings alive the long and arduous battle of Sha Bano with Yami Gautam playing Shazia. Emraan Hashmi is Shazia’s husband turned adversary Abbas.

The story of Haq in simple terms focuses on the emotional turmoil faced by Shazia (an excellent Yami Gautam). Everything seems perfect with a loving husband and children, but her life goes upside down with Abbas (Emraan Hashmi) doing second marriage. Shazia as expected is very angry with her husband’s actions. She tries to make peace with the situation but that becomes difficult as Abbas gives little to no attention for Shazia. She takes the decision of going back to parent’s house. The situation takes a major dramatic turn when Abbas cuts of all ties starting with the children. He stops giving the maintenance money and then comes the divorce with just the three words Talaq. This is the story in brief.

A strong aspect of Haq is the gradual revealing of different layers. Suparn Verma first establishes the happy moments of their married life. Abbas isn’t painted as a complete jerk. There is a visible romantic side in the initial scenes like the portion involving Shazia’s wish of wanting a rose garden. Gradually though things start to change after two children. He spends more time in the office giving not much time for her and children. Even when Shazia calls to talk about important matters Abbas asks her to not disturb and handle things on her own. The seeds of a scarred marriage start from there and take a full shape with the arrival of Vartika Singh’s Saira.

As a result of this layered writing the transformation of Abbas doesn’t come as jerky. The battle of Shazia has also been depicted well both in the terms of direction and Yami’s solid act. The role has the perfect mixture of vulnerability and a mother’s fighting spirit. A specific mention must be made of the emotional scenes where Shazia questions her husband. The dialogues are power packed, and the performances of both the actors make it even better.

Emraan Hashmi though has a trickier role as already mentioned. Abbas could have easily slipped into an over-the-top villain but Suparn Verma along with Reshu Nath give a psychologist insight into a man trapped in a sense of entitlement. Someone who refuses to see his wrong doings. There is also a sense of tragedy to Abba’s downfall. This is wonderfully captured in the moment where the one of sons doesn’t even make eye contact with the father. There is a palpable pain in the way Abbas talks about this to Shazia before the landmark Judgement. Emraan does an excellent job in capturing the little nuances.

The biggest victory of Haq though is that it never demonizes the Muslim community. The battle of Shazia Bano has a universal touch not restricted to a particular religion. Its more about men reinterpreting laws as per their convenience and using religion as a tool to hide behind their regressive thought process.

The dialogues are also power packed. The best of the lot involves a conversation between Shazia and Abba’s second wife. Shazia gives an important message on the need for respect in a relationship and how that is sometimes equally important. Vartika Singh as the second wife has a dignified presence and thankfully the movie doesn’t turn into two women fighting over one man. There is a wonderful moment involving the two when Saria places a basket of vegetables for cooking. This happens after Shazia starts facing social ostracization. Similarly in another moment she strongly says to Abbas about Shazia being right which obviously doesn’t go down well with the husband.

Danish Hussain as the supportive father is also wonderful to watch. The way he boosts Shazia’ ‘s spirit when the chips are absolutely down is a treat to watch. Through him the movie gives a progressive Muslim man. Sheeba Chadda as Shazia’s lawyer is excellent too in the courtroom scenes. Assem Hattangady as Faraz Sayeed is fine as well. The way he stands with Sheeba Chadda’s Bela Jain in spite of certain misgivings is nice to watch.

There isn’t much place for music in a movie like Haq but an important romantic number between Emraan and Yami has been smartly integrated. The song Qubool has a lovely melody establishing how happy they were. Pratham Mehta’s cinematography is successful in taking back the viewers to those times. The atmospherics have a lived-in feel.

As for the flaws the final courtroom arguments have a rushed feel. Also, the heavy use of Urdu in some sequences can be hugely distracting.

Final word: Haq is a very relevant tale with the issues being the same even today. On a side note, its great to see two women centric narratives the Girlfriend and Haq in the same week.

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The Girlfriend: A strong slap to Arjun Reddy and Animal’s endorsement of toxic masculinity

Director Rahul Ravindran tells a much-needed tale of a young woman taking life into her own hands and not crumbling in timidity. Rahul Ravindran who has also written the story does an extremely fine job in analyzing why a certain kind of men prefer their partners to be a doormat rather than self-assured. The messaging might be a little too much in the face for a section of audiences but there is no doubt about The Girlfriend being a much-needed feministic tale

Starcast: Rashmika Mandanna, Dheekshith Shetty, Anu Emanuel, Rao Ramesh, Rahul Ravindran and others

Genre: Drama

Story, screenplay, direction and dialogues: Rahul Ravindran

Producers: Dheeraj Mogileni and Vidya Koppineedi

Production house: Geeta Arts and Dheeraj Mogilnineni Entertainment

Music: Hesham Abdul Wahab

Cinematography: Krishnan Vasant

Running time: 2 hours and 18 minutes

Its easy to see why The Girlfriend has been dismissed as female propaganda by some. The movie’s strong social commentary on controlling men and their belief system has been laid out in a stark manner. This obviously hasn’t gone down well with a section of men who consider feminism as a propaganda. The initial reels of The Girlfriend feels like a sequel to Sandeep Reddy Vanga’s Arjun Reddy in more ways than one. The characterization of Dheekshith Shetty’s Vikram right down to the entitled nature has a major echo of Vijay Devarakonda of that film. However, what separates a movie like The Girlfriend is the feministic gaze through which Rahul narrates the story. The gradual transformation of Rashmika Mandanna’s Bhooma from bearing the suffocation of a toxic boyfriend to eventually breaking the shackles has been dealt with the required sensitivity. By the climax viewers are rooting for Bhooma and when the moment comes with a Durga ma symbolism you want to clap hard.

Rashmika Mandanna and Dheekshith Shetty from The Girlfriend

The storyline of The Girlfriend primarily focuses on a soft natured girl Bhooma. Bhooma is an extremely timid personality with confidence issues. Her big solace are books making her choose MA English literature. Bhooma also has aspirations of becoming a writer Dheekshith Shetty is Vikram. The paths of Bhooma and Vikram cross leading to a tumultuous journey.

A strong aspect of The Girlfriend is the layered approach taken by Rahul Ravindran. The transformation of Bhooma becoming more assertive doesn’t happen in a jiffy. The film has numerous scenes showcasing Bhooma’s inner dilemmas through the use of magical realism and symbols. For example, there is fantastic pre interval sequence with Rohini Molleti. Rohini plays the mother of Vikram, she has no dialogues, but a palpable fear of her son’s aggressive nature comes out in a vivid way. she doesn’t make eye contact with the son for not even a second. There is a portion of Rashmika looking into the mirror while checking the album of her prospective mother-in-law. In the album a younger Rohini comes across as lively and Bhooma wonders why the woman sitting in front of her is so different. In the mirror Bhooma sees her future life in Rohini’s saree.

There is also a scene in the restroom where Rashmika feels the walls are literally closing on her reflecting the starting of suffocation. This use of imagery adds a lot to the movie’s emotional core. Rahul Ravindran also deserves credit for how he does a psychoanalysis of men like Vikram. The molding of a women into a more of a caretaker than an equal partner and the reasons behind this thought process has come out wonderfully. There is a very important scene in which Vikram extols his mother’s caring nature and further adds on how women of this generation cannot match to the older generation.

He concludes by saying temples can be built for mothers like them. There is also a casual mention of domestic abuse without any criticism. These small but important nuances add depth to both Bhooma and Vikram.

The Girlfriend also does a good job in celebrating a strong bond of sisterhood in the portions featuring Anu Emanuel and Rashmika. Anu Emanuel’s Durga initially has a major crush towards Vikram but his treatment of Bhooma makes her introspect. How the two bond over a play bringing a different side to Bhooma is a delight to watch in spite of the less scenes. Anu Emanuel lends in a lot of warmth especially in the scene where she strongly cautions Bhooma on Vikram not being the right guy for her.

Rahul Ravindran also has an extended cameo as literature HOD. The role is an extension of Rahul’s real-life beliefs on the importance of female autonomy. Yes, the conversations between Rashmika and Rahul spells out the message a little too explicitly nevertheless Rahul does a fine job in portraying empathetic nature.

The biggest ace of The Girlfriend though is Rashmika’s fantastic performance. The actress absolutely imbibes the different shades of Bhooma. Whether it’s the initial timidity or gradually taking control of her life. The actress especially shines in showcasing the suffocation of Bhooma just through body language. Similarly, she owns the climatic moments too with ma Durga symbolism. The confidence with which Rashmika let’s it all out in a large campus crowd will give goosebumps. Dheekshith Shetty as the controlling boyfriend with a regressive thought process also makes his presence amply felt. The role doesn’t slip into a caricature at any point thanks to both the writing and the performance. The way he gradually brings out the manipulative streak under a supposedly caring nature is a treat to watch. Rao Ramesh as Bhooma’s father has a short but important role. He holds a mirror image to Vikram even though the scenes are overdramatic.

The music of Hesham Abdul Wahab is soulful too. The climactic song “Needhe Katha” is very intense working as a perfect culmination for Bhooma’s journey. Krishnan Vasanth’s cinematography is also of a fine standard especially in the scenes of magic realism.

Final word: The Girlfriend isn’t for those looking for comfort but for fans of feminist stories with strong women the film is a treat to watch.