Category: Features

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One Film Can Change Everything: The Great Comebacks of 2026

There’ a saying in showbiz on how one release can change everything. An out of form actor can make a smashing comeback; similarly an in form artiste can struggle to deliver if the content doesn’t appeal. There are numerous examples justifying this adage. 2026 has seen some strong comebacks for the likes of Samantha, Akhil, Ravi Teja, Chiranjeevi, etc. They have found scripts resurrecting their careers after being written off.

First up in this list is Samantha Ruth Prabhu. Irrespective of her box office outcomes Samantha has always enjoyed a strong fan following, but a strong commercial success was eluding the actress for some time. Nandini B Reddy’s Maa Inti Bangaram gave Sam a much-needed hit. However, Maa Inti Bangram’s triumph isn’t confined to just Sam scoring a hit, it also about the film being the biggest women centric grosser in Telugu. Yes, the film isn’t flawless by any means, but Samantha’s all-around act coupled with the novelty of a saree clad action heroine drew the audiences in a big way.

Akhil’s career journey before Lenin is a good example of how being a star kid doesn’t guarantee instant success. The journey started on a disastrous note and till Lenin Akhil went through a very uneven patch. Most Eligible Bachelor was a mild relief in between but the devastating results of Agent pushed back Akhil’s career significantly. Lenin scoring at the box was very important for Akhil, thankfully the young actor more than rose to the occasion with a solid act. The movie proved to be a good platform for Akhil to establish himself as a potential star and a much improved actor, on both counts the film was a success.

Ravi Teja has had a long career starting off with supporting roles and grey shaded characters. As a leading man Ravi Teja’s career took off much later, director Puri Jagnath has played a key role in building the current mass Maharaja image of Ravi Teja. Vikramarkudu directed by SS Rajamouli is another substantial movie in Ravi Teja’s career. The dual shades endeared the actor to masses and classes equally. But the last few years has seen an extreme mixed bag, whether its debutant/upcoming directors or even established ones like Harish Shankar. Irumudi came at a crucial time with reinvention being of utmost importance. After a long time, Ravi Teja played a layered role with vulnerabilities, the film has been smashing box office numbers and deservedly so.

Anil Ravipudi’s Mana Shankara Vara Prasad presented megastar Chiranjeevi in his vintage commercial avatar, something which the fans have been waiting for a long time. In Anil Ravipudi’s typical style the story was wafer thin, its an amalgamation of Chiranjeevi’s Daddy as well Nayanathara’s Viswasam. But what worked for the film was Chiranjeevi’s all round act.

The usual self depreciation associated with Anil Ravipudi’s heroes was on full display here too, the best part of MSVP was Chiranjeevi’s act of self depreciation with his signature comic timing. A special mention must be made of his scenes with Harshvardan, Abhinav Gomatam and Catherine Teresa as Vara Prasad’s teammates. 

RRR star Ramcharan also made a mini comeback this year with Peddi. Yes the box office numbers aren’t on the level off RRR and the film had its share of criticism over Janhvi Kapoor’s character. Having said Peddi was still a substantial comeback in terms of fair box office numbers. On the performance front Ramcharan delivered easily one of the best performances in 2026 along with Satyadev.

Tamil actor Suriya has immense fan following in Telugu too. In Radhika Sarathkumar’s words he is Telugu cinema’s adopted son. There was a period when Suriya struck a perfect balance between mass and class; this however took a nose dive with the Singham sequels and Kanguva. Yes Jai Bhim and Soorai Potru were acclaimed hits (both OTT releases) but the big screen comeback was missing for the Ghajini star. But with Karuppu and Vishwanth &Sons the actor has made a grand return.

Karuppu on one hand is an unabashed massy entertainer in a courtroom set up. The actor was seen in the role of Karuppu Swamy, god coming in human form as lawyer Sarvanan. Suriya brought in his trademark intensity to the fiery episodes, at the same time there a few vulnerable bits too with Sarvanan struggling to deliver justice. Here too Suriya aced it. Vishwanath &Sons was 360 degrees turn from Karuppu. The character of Vishwanath is more internalized, and the actor did a fantastic job here as well. He particularly shined in the portion of Vishwanath revealing his feelings about Mamitha Baiju’s Maddy.

Final word: From the above overview a strong conclusion can be made on how one film can change an actor’s trajectory. A common thread binding the success of Samantha, Suriya, Ravi Teja etc is a solid script and role. The beauty of an actor’s career lies in how careers are rarely linear and sometimes all it takes is just one release to turn things around.

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Broadway Meets Telugu Cinema: How Sing Geetham and Rao Bahadur Reimagined Social Storytelling

Among the Telugu films released in 2026, Sing Geetham and Rao Bahadur occupy a unique place for their distinctive storytelling. Both films embrace a Broadway-inspired, whimsical style of staging while tackling weighty social issues. Sing Geetham explores themes such as environmental destruction and the exploitation caused by mining, while Rao Bahadur delves into the pressures of lineage, colorism, casteism, and patriarchy. Despite these serious subjects, both films present their narratives through a whimsical lens, allowing their social commentary to emerge organically, particularly for the discerning viewers.

In Sing Geetham, nearly seventy to eighty percent of the narrative unfolds through songs, with characters expressing their emotions musically—whether it is their initial bewilderment, moments of despair, or personal revelations. Several key developments take place within these musical sequences. One such example is the portion where every character speaks their mind without any filters, leading to both humorous and revealing moments. Shalini Kondepudi’s Reenu inadvertently exposes her true intentions to the mining workers, while the male protagonist, played by Ayaan, openly reveals that he has recently come out of jail and discloses the deal he has struck with her, further shocking the villagers.

At the same time, the musical format is also used to create emotionally poignant moments. One of the film’s most moving sequence is a heartfelt plea to the god Kubera, where the villagers acknowledge their mistakes and pray not to be punished any further. The song combines emotional vulnerability with the film’s Broadway style, making the moment especially affecting.

Venkatesh Maha’s Rao Bahadur, on the other hand, is not a full-fledged musical like Sing Geetham. However, its Broadway influence is evident in the staging of several key sequences. The song “Desa Sanchari,” for instance, captures the protagonist’s free-spirited nature before he eventually succumbs to the weight of lineage. Both its melody and visual presentation evoke the feel of a Broadway production.

One of the film’s most crucial sequences is the imaginatively staged song “Conditioning.” Here, Venkatesh Maha employs magical realism to powerful effect and even appears on screen as one of the ancestors of Satyadev’s Bhuvana Ramappa Rao Bahadur.

On the night before Ramappa is expected to return, leaving the family lineage without a heir, the spirits of his ancestors gather to devise a plan. Through this surreal musical sequence, they attempt to indoctrinate him into their belief system, ensuring that he carries forward their rigid values.

The song unfolds in a whimsical manner, supported by inventive choreography and striking visual staging. Beneath its playful exterior, however, lies a sharp critique of patriarchal traditions and restrictive gender roles. The sequence perfectly encapsulates the core of Rao Bahadur, using music and fantasy to communicate its social commentary with remarkable effectiveness.

Taken together, Sing Geetham and Rao Bahadur demonstrate the power of unconventional storytelling. Both films use Broadway-inspired staging not merely as a stylistic flourish but as a meaningful narrative device deepening their exploration of social issues. Beneath the whimsical surfaces lie incisive observations on society, proving that fantasy, music, and social critique can coexist seamlessly. The results are two cinematic experiences both thoroughly entertaining and thought-provoking.

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Movies Beyond the Binary of Entertainment: Social Themes Across Cinema in 2026

Movies, in general, tend to carry social undertones of various kinds. Sometimes these are overtly explicit, in other cases they emerge subtly through subplots. These social undertones aren’t confined to just the serious stuff, sometimes it can just be a fun rom com like this year’s Godavari Gattu Paina. On the surface, the film’s plot is threadbare, but within that lay some interesting nuances. One of the most notable is its underlying theme of religious inclusivity. This is conveyed seamlessly through the hero’s close friends, who are Muslim and Christian respectively. The film also features an important scene in which the mother character emphasizes that belonging to a different religion is neither a barrier to love nor a valid reason to oppose marriage. Rather than feeling preachy, the message is woven naturally into the narrative, making it all the more effective.

Mahesh Narayan’s globe-trotting Malayalam film Patriot also explores the theme of religious inclusivity, anchored by the strong on-screen friendship between Mammootty’s Dr. Daniel James and Mohanlal’s Rahim Naik. Through their bond, the film conveys the symbolism of unity in diversity in a powerful manner. Patriot also features strong female characters in brief yet significant roles, particularly those played by Revathy and Nayanthara. Revathy, especially leaves a lasting impression as a determined Chief Minister, projecting both understated authority and quiet strength.

2026 has, so far, witnessed an interesting mix of social themes. From the ecological fable Sing Geetham to the poignant story of displacement in Main Vaapas Aaunga, filmmakers have explored a wide range of contemporary and historical concerns. At the same time, big-budget productions like Peddi have also engaged with socially relevant ideas, focusing on themes of identity, dignity, and aspiration through the journey of a crossover athlete. What follows is a brief exploration of some of the key social themes emerging from Hindi, Telugu, and other language films released this year.

Maverick director Singeetham Srinivasa Rao’s latest film, Sing Geetham, tackles weighty themes such as mining, environmental destruction, and humanity. While these subjects could have resulted in a heavy-handed drama, the film stands out for its fable-like narrative structure giving the story a distinctive charm. Several scenes evoke the harsh realities of mining and the large-scale destruction of forests in the name of development. Another aspect that makes Sing Geetham special is its strong focus on women, particularly Ahilya Bamroo’s Gauri and Shalini Kondepudi’s Renu. Gauri, a spirited environmental activist, and Renu, a shrewd businesswoman, emerge as the story’s driving forces. Their contrasting ideologies shape the narrative and are brought to life through a series of compelling and thought-provoking confrontations.

 Imtiaz Ali’s Main Vaapas Aaunga is much more than just the horrors of Partition. It also serves as a poignant reminder of the displacement and devastation caused by the wars unfolding across the world today. The film explores the loss of humanity as people are swept into an endless cycle of violence, a theme that comes through powerfully in several scenes of second half. By the end, we realize that despite the passage of decades, very little has changed. This realization makes Main Vaapas Aaunga a timely watch for our times

Buchi Babu Sana’s Peddi demonstrates how a mainstream star vehicle can also possess a meaningful social core.  While the heroine’s characterization leaves much to be desired, the film’s exploration of dignity and identity carries universal appeal. The story portrays caste discrimination through an oppressed community that lacks even basic civic amenities such as proper roads and railway access. The casteist insults endured by Ram Charan’s Peddi and his community make their eventual triumph all the more satisfying.

Another underlying theme of Peddi is sports as a great unifier. This is wonderfully conveyed through the oppressed community watching the Paralympics match in an upper caste man’s house, this person until then treats them with distaste but the medium of sports breaks that barrier.

Gopi Atchara’s Hey Balwant occupies a unique space among this year’s films. At its heart, it is a father-son drama, but it also offers a compassionate portrayal of sex workers. The lodge run by VK Naresh’s Balwant becomes a character in itself, carrying years of history and emotional significance. There is a police officer whose mother was one of the numerous prostitutes. He talks about how Balwant helped him with his studies, an important reason for his growth.

The film also examines society’s attitudes towards women in this profession through the characters played by Suhas and Shivani Nagaram.

One important scene features Suhas casually asking a sex worker on “why don’t you find” some another job, exposing his ignorance about the realities forcing some women into such work. Another important sequence sees Shivani Nagaram’s Mithra blaming the lodge for her grandfather’s visits to sex workers, rather than holding him accountable for his own choices. Through these moments, the film critiques society’s tendency to judge women while excusing men.

AR Sajeev’s Om Shanti Shanti Shantihi shares thematic similarities with Rahul Ravindran’s Girlfriend in a slice of life zone. Though a remake of Jaya Jaya Jaya Hey OSSS has a strong social core, an important theme explored in the movie is the power dynamics. The patriarchal hierarchy with women also enabling it has parallels with numerous households. A specific mention must be made of a sequence involving Esha Rebba’s Prasanthi and her on screen mother. When Prasanthi complains about her husband’s beating, she defends the son- in law by using Sandeep Reddy Vanga’s real life comment on how physical violence is an expression of love. This scene gives a perfect insight into a certain kind of social conditioning.

Vivek Soni’s Chand Mera Dil unfolds like a spiritual companion to Thappad. Through Ananya Panday’s Chandini, the film explores self-respect, personal identity, and emotional independence. Ananya Pandey’s Chandini is someone who doesn’t compromise on her identity in order to preserve her relationship. She carves out her own space as a single mother. The film doesn’t celebrate the violent snap of Lakshya Lalwani’s Aarav; it makes him work hard to earn the relationship back.

Cheekatilo, streaming on Amazon Prime Video, examines society’s treatment of sexual assault survivors. It critiques the tendency to blame victims while also exposing the voyeuristic gaze of sections of the media. The film’s emotional impact is heightened by the fact that only two survivors come forward to share their experiences, reflecting the harsh reality that many victims go through due to fear and stigma.

Two notable Hindi OTT releases this year, Accused and Maa Behen, also offer compelling gender perspectives. Both are streaming on Netflix and focus on a certain kind of perception. In Accused Anubuthi Kashyap does an interesting gender flip with the backdrop of Me Too. Here the accused is a woman Geetika Rao (Konkana Sen Sharma), she is a top doctor who has worked hard to reach this position. Through this gender flip Anubuthi presented a a nuanced picture on how men feel threatened by woman in power. This is perfectly summed up in the following dialogue. “Jab aadmi successful hota hai to hum kehta hain deserve karte hain. But when a woman reaches a powerful position, we doubt Aisya Kya Kiya Hoga. A dramatic sequence featuring this dialogue sums up the underlying social theme. Another interesting aspect of Accused is the same sex relationship and how Pratibha Ranta isn’t reduced to just a supportive spouse. Their dynamics are treated in a matter-of-fact way like any normal couple in the same circumstances.

Maa Behen on the other hand has scenes of gossip culture and how society judges those not conforming to what they think is appropriate. A strong example of this is the rumours spread on Madhuri Dixit Nene’s Rekha, a non conforming widow living life on her own terms. There is also a social angle similar to Jeo Baby’s The Great Indian Kitchen. Tripti Dimri’s Jaya is someone caught in a suffocating cycle of an oppressive marriage. Through her character and her eventual rebellion director Suresh Triveni explores the emotional exhaustion a regular housewife goes through.

Among the Tamil Films Made in Korea and Thaai Kizhavi deserve a special mention for their tackling of social themes related to gender. Made in Korea celebrates female solidarity through the friendship between a young Tamil woman and a Korean woman. Priyanka Mohan’s character evolves into a stronger, more self-reliant individual because of this relationship.

Thaai Kizhavi presents an equally compelling feminist narrative within a rural setting. It emphasizes the importance of women’s financial independence while also briefly addressing remarriage. Radhika Sarathkumar’s character undergoes a fascinating transformation from someone initially perceived as a ruthless moneylender into a self-made matriarch who inspires other women to shape their own destinies.

Among English-language films, three releases stand out for their social themes: Obsession, The Devil Wears Prada 2, and The Bride.

Obsession uses psychological horror to examine autonomy and emotional dependency. Through supernatural elements, director Curry Barker explores the gradual erosion of Nikki’s individuality. Initially an aspiring writer, she slowly loses her sense of self as emotional dependency takes over her.

The Devil Wears Prada 2 examines the changing landscape of digital journalism, touching upon sponsored content, clickbait culture, and editorial compromise. It also subtly explores female solidarity through the evolving relationship between the characters played by Meryl Streep and Anne Hathaway.

The Bride presents feminism through the lens of gothic romance. Jessie Buckley’s Ida is created as a companion for Christian Bale’s Frank, but over time she develops into a complete individual. The film argues that a woman’s identity should never exist solely in relation to someone else.

Taken together, these films demonstrate that cinema in 2026 continues to move beyond mere entertainment. Interestingly, many of the year’s strongest social commentaries have emerged from small and medium-budget productions featuring newcomers or actors outside the mainstream star system.

Sing Geetham and Main Vaapas Aaunga exemplify how middle-of-the-road and alternative cinema are currently producing some of the year’s most meaningful storytelling. Their ability to earn both appreciation and commercial success is an encouraging trend for Indian cinema.

Mainstream big-budget films, however, still have considerable ground to cover, particularly in terms of gender representation. Peddi, despite its powerful exploration of dignity and caste discrimination, fails to extend the same sensitivity to its female lead.

Similarly, films dealing with patriotism and history have increasingly become vehicles for ideological agendas. A prominent example is Dhurandhar 2: The Revenge. In contrast, both Main Vaapas Aaunga and Dharmendra’s Ikkis foreground humanity across borders, emphasizing compassion over divisive nationalism. Their humane perspective serves as a reminder that cinema can engage with history, not reducing it to an “us versus them” narrative.

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Mrunal Thakur’s emergence in Telugu cinema

An overview into how the actress has got meatier parts down south and has made complete use of it, starting from the romantic blockbuster Sita Ramam to the latest Dacoit with a muti layered character

In the success meet of Mrunal’s new movie Dacoit director and producer Nag Ashwin made a big statement about Mrunal’s acting abilities. He compared her to some legendary actresses saying that she should be wiser in choosing films. One of the things he talked about was her ability to portray characters with emotional intensity. Nag Ashwin’s statement feels very much true especially given her work in Telugu cinema.

Before getting into Mrunal’s Telugu films it’s important to give a background into her early career. Before making her Hindi debut Mrunal has been part of TV shows. A very notable stint is Kumkum Bhagya. As the vivacious younger sister, the actress made her presence amply felt, the actress particularly shined in the intense scenes showing her dramatic chops at an early stage. Love Sonia released in 2018 was her first Hindi movie; the movie was a gritty take on sex trade and prostitution.

Mrunal’s role has heavy emotional bits as well as scenes of graphic violence. Mrunal made a knock out debut capturing the quiet inner strength, as a viewer you root for her mission of finding the sister who is sold off by her debt-ridden father. Love Sonia had its screening at Indian Film Festival of Melbourne. It is here that Mrunal’s paths crossed with Nag Ashwin. His second movie Mahanati was part of the film festival too. Cut to the year 2022 Mrunal was leading lady in Hanu Raghavapudi’s Sita Ramam. The movie was produced under the banner of Vyjayanthi movies and Swapna cinema.

Sita Ramam is by no means a novel story. It has shades of both Hollywood and Hindi cinema. Having said that the film is a well-made poetic love story with a good mix of romance and intense moments. As Sita Mrunal was both stunning as well delivering a solid act. Whether it’s the flirtation scenes or portions showing emotional intensity the actress was simply top notch, she more than held her own opposite the magnetic Dulquer Salman. It was a fantastic Telugu debut by all means. And it got ever better with the second one Hi Nanna.

In this Shouryuv directorial Mrunal was seen in the role of Yashna. The character of Yashna comes with multiple shades both in the flashback portions establishing the love story as well as the present timeline. The character goes through numerous emotional upheavals, she has major anxiety problems and this stems from growing up in a broken home. More than Nani Mrunal stole the show conveying the various feelings with just her expressive eyes. After two solid acts a speed breaker came in the form of The Family Star. 

The Family Star directed by Geeta Govindam fame Parasuram was a convoluted romantic drama especially the second half portions of US. In the Family Star Mrunal’s character comes with two shades. In the beginning the viewers see her as a girl next door and then a CEO with a tough exterior while having a compassionate nature. In spite of Parasuram’s subpar writing Mrunal was very effective in portraying both the shades.

Mrunal’s lastest Telugu movie is the recent Dacoit. Keeping aside whatever the final numbers of this Shaniel Deo’s directorial would be, there is no denying that Mrunal has won lots of hearts with her fabulous performance. The multi-faceted Adavi Sesh deserves utmost praise for writing a strong character like Sarswati. Though Adavi Sesh is the leading man Mrunal is the main pillar of the movie. The actress did a fantastic job in portraying the resilience of Sarswati. The gradual unraveling of different layers was brought out superbly by both Adavi Sesh in his writing, and of course Mrunal Thakur who was an absolute knock out capturing both the vulnerability and a fighting spirit. A special mention must be made of Mrunal in the climatic portions post a crucial reveal.

No wonder Mrunal has received praise from many quarters, whether its Rahul Ravindran, Nandini Reddy and Allu Aravind. She has truly become a Telugu heroine with a separate fan base. As Nag Ashwin said in the event it’s necessary that the actress avoids random stuff as much as possible, keeping aside the comparisons to legendary actresses, Mrunal is an extremely capable performer who can go a long way. Here’s hoping that Hindi cinema also taps more into Mrunal’s talent giving her parts that she deserves

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The rise of Little Hearts beauty Shivani Nagaram:

An overview into how Shivani has chosen interesting roles within the girl next door parts and has found success especially in the context of Telugu girls entering film industry

In the era of importing heroines from either north or southern states it isn’t easy to find local talents as leading ladies. Thankfully this has changed in the last few years with both established and new production houses. Shivani Nagaram is a good example of this refreshing change apart from Vaishnavi in Baby and Sridevi Appala in Court etc. For someone with no particular interest in acting by her own admission and a rank outsider Shivani has had a solid journey so far. Of course, the backing of Bunny Vasu and Vamsi Nandipati has a big hand too. Having said that Shivani has chosen interesting roles as well especially with Little Hearts and Hey Balwanth. There is strongness to these women in terms of the decisions they make.

For example, in Little Hearts Kathyayini quietly takes charge of both the relationship and career. The portions of Kathyayini saying that we will make the long-distance relationship work and then convincing her parents on what she wants to pursue are solid examples of this. In Hey Balwanth too there is a good trajectory from having a perception about women in a certain kind of business and then the eventual realization. At the end the character Mithra accepts the hero with his family business.

Before getting into the three films it’s necessary to talk about the mini web series Mr Girlfriend. It’s still there in Youtube with nine episodes: as the title suggests the story is mainly anchored on Shivani Nagaram’s Madhumita. The story has a few similarities to late Uday Kiran’s Manasantha Nuvve but the web series is very much its own beast.

Shivani’s role has different shades whether it’s being an authoritative boss: emotions of jealousy when seeing her childhood sweetheart with another female, a certain anger too on how he had treated her in childhood and at the same time love. Shivani did a very fine job in pulling off the different shades. She particularly shined in the sequences of jealousy as well as an emotional bit explaining the tough behaviour. However, the highlight episode is Shivani switching into Telangana dialect with perfection. The dialogue delivery coupled with the lines makes it very entertaining.

Shivani’s first movie Ambajipetta Marriage band was an intense drama dealing with the theme of caste and the fight for self-respect among others. Shivani played the role of Lakshmi, a sister of a feudalistic man. The role comes with multiple shades whether it’s the playfulness in the saloon portions or the dramatic bits in the latter part. The breakup sequence in particular was job very well done by Shivani. In the sad version of Gumma there is a portion where she communicates with just the eyes and the young actress did an excellent job. In fact, of one of Shivani’s biggest strengths is expressing emotions through body language. This is very apparent in both Little Hearts and the latest Hey Balwanth as well.

In little Hearts there is a sequence with the on-screen father SS Kanchi taking away the phone, this is before the Kathyayini song. Mouli’s Akhil says that he has a surprise for her birthday that particular night. Shivani’s portrayal of anxiety through body gestures was absolutely solid. Mention must also be made of the sequence where Mouli’s Akhil asks are you aunty. The instant change in body language as she widens her eyebrows in anger is another perfect example of this.

In Hey Balwanth’s interval stretch Mithra goes through major shock. She takes great pride in belonging to an orthodox family. But this firm belief is challenged when her grandfather is found in lodge post an act of sex. It’s a double jolt, one the previous revelation of what her boyfriend’s father runs and now this. The emotion of shock was superbly done without any big dialogues. Even the tension of Mithra when she lands up at lodge fully knowing what happens there was wonderfully portrayed by Shivani. In both these scenes the reliance is on expressing through facial expressions rather than big dialogues.

Apart from acting Shivani has also sung songs in a couple of movies in fact she comes from a family which is musically trained. Her singing debut happened with music director and childhood friend Sinjit Yeramalli. The song name is Amaayakanga from the film Aarambham. She was also musically involved in the smash hit little hearts apart from acting.

Shivani is also a trained Kuchipudi dancer who has given stage shows too. However there hasn’t been much scope for dancing so far in the three films.

Shivani Nagaram has a vibrant and level-headed personality and that clearly reflects in the interviews. There is a clear intent to experiment with different genres in the upcoming films. Here’s hoping that the actress has a long career with good body of work. It would be nice to see the actress in a full-fledged dance film especially given her background.

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The reinvention of Sivaji with a variety of characters

A summary of Sivaji’s second innings starting from the web series 90’s Middle Class Biopic. How he is doing more solid work than before notwithstanding the recent controversy

There are some actors who peak much later in their careers than the beginning stages. Court and Dhandorra actor Sivaji is a solid example of this. It’s not that Sivaji hasn’t given good performances in the past. For example, in the Neelakanta directed Missamma he played a middle-class employee with big dreams. In the process of impressing the boss (an excellent Bhoomika) his life turns upside down. The actor’s comic timing especially in the second half is a delight to watch. Sivaji brought the house down on many occasions with just his expressions. There is also the Charmi starrer Mantra. In this film the actor played a rowdy who helps Charmi’s Mantra. The film significantly picks up pace with Sivaji’s entry. Both the above-mentioned films aren’t centered on him but still Sivaji made his presence amply felt.

Having said that the current characters starting from the web series 90’s Middle Class biopic has given Sivaji more layered roles. He has made complete use of it too. Apart from being a solid actor Sivaji has also proved himself as a dubbing artist. A special mention must be of the movie Dil starring Nithin. Sivaji dubbed for Nithin and his dubbing was one of the big reasons in the film becoming a hit.

Sivaji’s voice in the confrontation scenes with veteran actor Prakash Raj gave the movie some of the best moments. Dil is one of Nithin few hits as a leading man and a big reason for that is Sivaji’s powerful dialogue delivery.

Not surprisingly Sivaji won Nandi award for best male dubbing artist in 2003. Before the web series 90’s Middle Class biopic the versatile actor faced a slump but the last couple of years have been very fruitful with commercial success and critical acclaim. Yes Dhandorra wasn’t a hit on the Court level for different reasons. One is sandwiched between the monstrous hit Dhurandhar and also Avatar 3, this did some damage apart from Sivaji’s rather unnecessary comment on dresses worn by actresses. Still it won a lot of appreciation especially Sivaji’s nuanced performance of an upper caste bigot undergoing social consciousness.

Now let’s dive into Sivaji’s recent performances showcasing the actors brilliance.

90’s Middle Class Biopic directed by the young filmmaker Aditya Hasan was a major winner for everyone concerned. The success of this web series consolidated ETV Win as a quality production house. In this web show Sivaji was seen in the role of a respected maths teacher and a family man.

The character on the exterior comes across as a taskmaster with an iron grip. At the same there is a vulnerable side too. This especially comes out in the scene where the daughter becomes an adult person. His character Chandra Sekhar is terrified about the responsibilities that will come with this. Sivaji did a very good job in portraying the vulnerabilities of an anxious father successfully showcasing a different facet to the role.

The roles in both Court and Dhandoora have a similar core. In the hands of a lesser role it would have become mimicking but both the writing and Sivaji made sure that they don’t become an overlap. This is especially true of Dhandoora. His act in the first is reminiscent of the hit movie Court, however Sivaji’s prowess as an actor comes in the second half while showcasing the gradual change and eventually undergoing social consciousness.

The breakdown in the court accepting his mistake is very touching. The viewers empathise with his emotional outburst though the character was a caste bigot. Similarly Sivaji’s performance in the scenes with Bindu Madhavi brings out a different side.

In court movie Sivaji played a highly despicable casteist as well as a misogynist. There is no redemption arc for the character Mangapathi here, the role is deliberately one tone, but Sivaji fully embodied the caste fanaticism making the viewers despise him.

This is a brief overview into Sivaji’s second innings. Here’s hoping that the senior actor continues to shine bright with versatile roles like the upcoming Sampradayini Suppini Suddaposini. At the same time it would be nice if Sivaji doesn’t unnecessarily comment like the last time and let his craft do the talking.

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Akshaye Khanna’s resurgence

An overview of how Akshaye Khanna has become one of the most sought out character artists in today’s times with a range of characters whether it’s playing the antagonist or police parts among others

Starting from the year 1997 Akshaye Khanna has featured in over 40 movies as a leading man, second lead and character artist roles. As a conventional leading man Akshaye didn’t much have success with the song and dance routine: however, Akshaye has had a great run of form with layered characters where there is no baggage of a mainstream hero as well as a star kid. There was a significant gap of four years when Akshaye took a sabbatical 2012-2016 but the comeback has been resounding to say the least.

One of Akshaye Khanna’s most iconic characters came in the movie Dil Chahta Hai directed by Farhan Akhtar. Over the years the character Sid has become a fan favourite. The role is more mature in comparison to the ones played by Aamir and Saif. There is an understated romance to his scenes with Dimple Kapadia making the viewers wish that they had a happy ending. Akshaye Khanna especially stands out in the interval block with Aamir when the latter chides him for falling in love with a much older woman.

One of Akshaye’s biggest strengths is letting his work doing the talk rather than indulging in extra pr machinery. He comes and chews the scenery, then goes underground resurfacing again at the time of his next release. The perfect example of this attitude is the latest release Dhurandhar. Akshaye has received a lot of praise and rightly so for his fantastic portrayal of Rahman Dakiat. Akshaye has been called the scene stealer overshadowing Ranveer but there have been zero interviews from Akahaye about his show stealing turn. Of course this method doesn’t work for every actor as each has a different personality. Akshaye meanwhile has quietly moved on to his Telugu debut Mahakali amidst both the mega success and also the controversial exit from Drishyam 3. Akshaye Khanna’s attitude towards acting may appear non serious but the intensity which he brings on screen is terrific.

Akshaye Khanna’s Telugu debut Mahakali

In simple terms he has constantly reinvented himself with a variety of characters and is currently in the best phase of his career. Along with Bobby Deol Akshaye Khanna is another example of how some actors peak much later in their careers.

Following are some of Akshaye Khanna’s best performances across different genres

Much before the negative roles in 2025’s Dhurandhar and Chhaava Akshaye Khanna delivered some scintillating acts in the films Race, Humraaz and Section 375. All these come under negative/grey roles. In the first Race Akshaye played a calculative and cunning man, the character Rajiv Singh alternates between brotherly affection and scheming against his own sibling. Akshaye pulled off the different shades with finesse: his work especially stands out in the scene of Rajiv pouring out his frustration regarding his half elder brother.

In Humraaz Akshaye played a conman Karan Malhotra. Karan is very good at deception, and this is revealed gradually. The best part of Akshaye’s performance is the slyness with which he plays the role particularly in the second half when the malicious side comes to the fore. Much like Race this is also a character with simmering anguish. He starts off as an ardent lover before turning into a spiteful man. Akshaye pulled off this transformation in an excellent manner.

In Ajay Behl’s Section 375 Akshaye is defence lawyer Tarun Saluja. He played a shrewd layer fighting for a filmmaker accused of rape. Tarun is a firm believer in the quote “We are not in the business of justice; we are in business of law”. In short his ideology differs significantly from Richa Chadda’s Hiral Gandhi. This difference of ideological stance gave the movie some of its best moments. Akshaye Khanna simply chewed the scenery with his fantastic act. In the hands of a lesser actor the role would have become extremely detestable but the conviction with which Akshay uncovers the botched-up police investigation with the sharp arguments is a delight to watch. One of the stand out scenes concerning Akshaye’s acting is when the character is splashed with ink by a protester: this is followed by Tarun looking at his reflection in the mirror, the anguish in those eyes is very palpable. Yes, the politics of Section 375 is a bit slippery given the timing of the then Me Too Movement. The movie looks at how men can also be falsely accused of sexual assault but for Akshaye’s acting alone Section 375 is very much worth a watch.

Apart from wonderful performances in negative roles Akshaye has also aced cop characters in the 2017’s Ittefaq a remake of the 1969 one and also Drishyam 2. In Ittefaq the actor effortlessly switched between comedy and being serious: The way Akshaye’s goes about investigating the double murder case gives the movie its best moments. Whether it’s chiding his junior officers for indulging in tea during a crime scene or straightening out a colleague with just a piercing gaze the actor was simply sublime.

In Drishyam 2 Akshaye once again stole every scene that he was a part of. The cat and mouse game between him and Ajay is where the movie gathers momentum. A stand out portion is Akshaye visiting the house of Ajay Devgan’s Vijay Salgoankar. Akshaye doesn’t even raise his voice but the overall demeanour is more than enough. The actor brought in a certain authority in his interactions with Ajay and the family. Mention must also be made of the solid one liners: yes dialogues itself are first rate but Akshaye with his portrayal enhanced them further.

Apart from the above-mentioned parts Akshaye has also proved his versatility in comedy. These include the likes of Hungama (2003), Hulchul and Tees Maar Khan. In Hungama he played the role of Jeetu. An ambitious entrepreneur caught in a web of misunderstandings. Akshaye raised ample chuckles in the scenes of banter with the ever-reliable Paresh Rawal. In Hulchul Akshaye’s character falls in love with a woman from rival family, Akshaye’s scenes with Arshad Warsi playing a friend/sidekick raised ample chuckles. Last but the not the least there is Tees Maar Khan by Farah Khan. In this movie Akshaye played a caricature of a popular Hindi actor. It’s over the top by design but the gleeful abandon with which Akshaye plays the role makes the portions interesting.

This is all about some of Akshaye Khanna’s best performances and how he has evolved over the years. Here’s hoping the actor continues to shine and entertainers the viewers with diverse roles.

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Best of Hindi movies (2025): The storm of Saiyaara and a mini comeback for Akshay Kumar

An overview into some of the best Hindi movies this year with a brief insight of gender and caste concerning Dhadak 2, Homebound and Phule

2025 like 2024 has also seen a handful of successful films.  These movies are Chhaava, Saiyaara, Raid 2 and Aditya Dhar’s monstrous hit Dhurandhar. An interesting feature of 2025 though has been some solid films dwelling into the themes of gender and caste. Topping this list is Shazia Iqbal’s Dhadak 2 based on the hit Tamil movie Pariyerum Permul. Thankfully the movie improved on the original significantly with its depiction of the female protagonist. Unlike the original Dhadak 2 is set in a city but this change doesn’t lessen the caste horrors in any way. Apart from a much-improved gender angle Dhadak 2 also had dialogues related to the reservation taunts faced by the lower caste. There is an important portion in the movie where Priyank Tiwari’s Shekhar talks about the origin of reservation. The dialogue goes like this reservation came because of casteism and not the other way around.

The gender angle came out strongly with a fantastic Tripti Dimri. Vidhi is someone with a mind of her own asking uncomfortable questions however she stays in a privileged bubble with little awareness about the struggles faced by the lower caste. But all that changes when she falls in love with Siddanth Chaturvedi’s Neelesh a timid Dalit youth with big dreams. There is a very poignant conversation between the two when Neelesh opens up about his bitter experiences in the context of a college professor constantly taunting him for his reservation seat. This opens up a new world for Vidhi and the movie progresses the character becomes fiercer. Even when Neelesh keeps a certain distance due to her father Vidhi doesn’t give up on the relationship standing by her love. Apart from standing up for her love Vidhi also questions the patriarchal attitude of her cousin brother played a terrific Saad Bilgrami. Vidhi questions the concept of honour being solely attached to women’s actions. Tripti did an excellent job in bringing out the different shades of Vidhi. Siddanth Chaturvedi was first rate as well making the viewers feel the angst and cheering for the character when Neelesh decides that enough is enough especially the pre climax outburst.

2025 has also been a mini comeback for senior actor Akshay Kumar both in terms of box office and acting performances. A special mention must be made of Kesari Chapter 2 and Jolly LLB 3. In Kesari Chapter 2 Akshay played the role of C Shankaran Nair a real life lawyer who fought against the crown. The movie directed by Karan Singh Tyagi is based on a book The Case That Shook The Empire. As Shankar Nair Akshay did a very fine job in conveying the emotional turmoil along with the fighting spirit. Kesari Chapter 2 also featured a strong woman character in the form of Ananya Pandey’s Dilreet Gill. Dilreet breaks numerous social conventions of that period. Yes, this character doesn’t exist in the book nevertheless this role makes the movie more interesting. A specific mention must be made of an important cross examination portion where Ananya goes from being nervous to takings things head on. Similarly, there is also a scene of Dilreet confronting Shankaran Nair on how he shouldn’t run away, instead he should fight against the crown and bring the truth out. Ananya did an excellent job in both the above-mentioned scenes.

In Jolly LLB 3 Akshay played he played a crooked lawyer developing a social conscious with practiced ease. Akshay particularly shined in the fiery courtroom arguments. There is a palpable intensity in the way Akshay talks about farmer subsidies being dismissed as Khairat (charity). The actor makes you feel the transformation.

Emraan Hashmi too made a solid comeback with a layered role in Suparn Verma’s Haq. Yes, Yami Gautam is the center, but Emraan too has a significant role in making the movie more interesting with his nuanced performance of an entitled husband. True to its the title the movie is an important social drama on women’s rights and respect being equally important to love. The very underrated Akshaye Khanna knocked it out of the park with two solid negative roles. One Chhaava and another Dhurandhar. In Dhurandhar especially he stole the limelight with a swashbuckling act often overshadowing Ranveer.

Following are some of the best Hindi movies in 2025

Saiyaara: Mohit Suri’s Saiyaara is an intense romantic drama done right. Unlike Mohit Suri’s mostly doomed romances Saiyaara has a more contemporary touch. This particularly comes out in the second half when Ahaan Pandey’s Krish Kapoor goes from a hot headed rockstar to a devoted boyfriend. The way Krish takes care of Aneet Padda’s Vani gives relationship goals. He puts his love above the need for fame. At the same time there is no clichéd trope of sacrificing music altogether. Krish’s deep love for Vaani isn’t a weakness. Instead, it adds to his music. This comes out in a thunderous manner during the title song. Through the role of Krish Mohit gave a refreshingly different protagonist, a young man striking the perfect balance between ambition and love. Saiyaara also benefitted from two brilliant leads. Both Ahaan and Aneet Padda were terrific in their respective parts. Rajesh Kumar and Geeta Agarwal as Vani’s parents were also good. Special mention must be made of Alam Khan as KV. KV doesn’t understand Krish’s intense love for Vani, but this doesn’t stop him from standing by his friend.

Music has always been Mohit Suri’s biggest strength and Saiyaara is no different. Tracks like Humsafar and the super title song with fantastic vocals coupled with Ahaan’s acting adds to the movie’s emotional quotient.

Chhaava: Laxman Utekar’s Chhaava treads along the familiar path of Hindu nationalism with Muslims being portrayed as merciless invaders. The movie doesn’t break any new grounds in its treatment of Swarajya and Muslim rulers. Nevertheless, the movie is a worthy big screen experience mainly for the technical department along with a brilliant Vicky Kaushal and Akshay Khanna.

Thankfully Akshay Khanna’s Aurangzeb doesn’t become another version of Ranveer Singh’s Khilji. Akshay evokes terror with just his piercing gaze and overall demeanor. A special mention must be made of the scene where Aurangzeb expresses disappointment on hearing the news of Shivaji’s death. The admiration for Shivaji’s bravery is palpable.

As Sambhaji Vicky Kaushal did an excellent job in nailing both the physicality and emotional side. Keeping aside the historical controversies on the kind of man Sambhaji actually was Vicky was first rate. The action sequences were also a treat to watch especially the portions of Marathas outsmarting the Mughals using guerrilla tactics.

Thamma: Aditya Sarpotdar Thamma is a major gender bender reversing the usual Knight in shining armor trope. Rashmika Mandanna as Taraka/Tarika had a fantastic role with the right of ferociousness and also tender moment: Rashmika was simply in portraying the different shades. Ayushmann Khurrana as a small time reporter Alok also did well especially in the transformation portions. Whether it’s the initial shock of turning into a Betaal himself or adjusting to the new identity Ayushmann brought his usual finesse.

The love story is the core of Thamma. This aspect does take a while to gather momentum but as the plot progresses the viewers become engrossed on where the romance is heading. In the supporting cast veteran actor Paresh Rawal made his presence amply felt. He brought in some chuckles as well bringing gravity in a few emotional sequences. Nawazuddin Siddiqui as the comic villain suffered somewhat on the account of weak writing: nevertheless, Nawazuddin was wonderfully eccentric embracing the whacky tone with flair.

Haq: Suparn Verma’s Haq is a gripping tale of perseverance and fighting for one’s rights. The movie is based on the landmark Supreme Court judgement in the case of Sha Bano. Though set in the 1980’s the battle for dignity holds relevance even today. The movie at no point demonises the Muslim community. The focus is on men twisting laws as per their convenience and using religion as a façade to justify male entitlement irrespective of faith.

Director Suparn Verma along with writer Reshu Nath take their own sweet time in unravelling the different layers. Emraan Hashmi’s Abbas isn’t presented as a chauvinistic villain from the beginning itself. There is a genuine romantic side. As a result of this gradual process the eventual transformation doesn’t come across as jerky. Haq also benefits from solid confrontation scenes with very good acting from both Yami and Emraan. The need for a respect in a relationship and how that’s equally important to love is one of the main themes in Haq. An important conversation between Yami Gautam and the second wife played by Vartika Singh perfectly reflects this, as Shazia Yami nailed both the vulnerable and ferocious side not afraid to voice her opinion in front of so called wise people.

Homebound: Neeraj Ghaywan’s return back to the big screen was very much worth the wait. Unlike his debut feature Masaan the politics of Homebound is more in your face but the effect is equally solid. Through the tale of two friends the director did an excellent job in capturing the struggles of marginalized. In this case it’s both caste and religion. Homebound also struck a chord for its heartfelt depiction of migrant worker’s plight.

The movie doesn’t directly critique the government but for those who can read between the lines the administrative failure is very much palpable. The movie is based on an article written by the noted writer Basharat Peer. In the second half his touch is very visible. Mention must also be made of the love story between Vishal Jethwa’s Chandan and Janhvi Kapoor’s Sudha. Both come from the Dalit community but the dynamics are different with Sudha being the more empowered one. Janhvi has a crucial monologue about educate, organize and agitate. She played the role with the required confidence bringing in a much needed lightness to the otherwise grim proceedings. As Chandan and Shoaib both Vishal and Ishaan got into the skin of their respective characters. They did a wonderful job in bringing the friendship alive. Ishaan especially shined in the sequence where he desperately wants to save his friend by egging him on. It’s so emotionally moving.

Metro In Dino: Anurag Basu’s Metro In Dino is a solid spiritual sequel exploring the complexities of love and marriage. He did an excellent job in reflecting the contemporary society like the fast lifestyles and sometimes fickle nature of marriages. Among the numerous parallel stories the one which stood out the most was the track involving Pankaj Tripati and Konkana Sen Sharma as Monty and Kajol respectively. The marriage is going through a midlife crisis, the relationship has lost its spark and Monty takes the aid of a dating app. This only complicates the matters with Monty chatting with Kajal unknowingly. Kajol also plays along go to see how far her husband would go leading to a chaotic situation. Both Pankaj and Konkana were excellent feeding off each other. Kajol comes across as someone with spine not forgiving her husband easily. Kajol is also not afraid to give back to her mother played by Neena Gupta. Kajol questions the mother about the passive acceptance of her husband’s infidelity and how she doesn’t want to end up like that.

Among the other parallel stories Neena Geena playing an older woman finding liberation in twilight years was also a treat to watch. The transformation of Neena Gupta’s Shivani from a doormat to becoming more independent was wonderful to watch.

Phule: Ananth Narayan Mahadeven’s autobiographical drama Phule is a hard-hitting tale of revolution and solid companionship. The movie tackles issues which are relevant to today’s times. In spite of facing CBFC brunt like Dhadak 2 Phule still came out as an unsparing movie. This is majorly due to the power packed dialogues. There is crispiness to the arguments made by Pratik Gandhi. For example, there is a brilliant portion in which the male protagonist questions an upper caste man for avoiding a barber by doing his own shaving.

Apart from tackling social issues director Ananth Narayan Mahadevan also did an excellent job in showcasing the mutual love and respect Jyothiba and Savitri Bhai Phule had for each other. Jyothiba truly comes across as a feminist in the way he treats Savitri. He acknowledges her contribution numerous times. Jyothiba also stands up for Savitri in an importance scene when the father suggests a second marriage. The love and affection that the two had for each other is difficult to find in any married couple whether it’s of past or present.

Phule also benefitted from solid acting. Both Pratik Gandhi and Patralekha imbibed the strong nature of their respective characters. Pratik brought a quiet intensity expressing a lot with his eyes. Whether its showcasing pain, determination or the tender moments. Patralekha too disappeared into the part capturing the feministic spirit with ease. A special mention must be made of the scene where Savitri Bhai Phule is threatened by an upper caste man. Instead of retreating she holds her ground with a solid response.

Raid 2: Rajkumar Gupta’s follow up to the 2018 Raid works as a utopian tale delivering justice, the beats are familiar nevertheless Raid 2 is engaging especially the antagonist role played by a wonderful Ritesh Deshmukh.

Unlike Saurabh Shukla’s rustic character from the first part Ritesh Deshmukh’s Dada Bai is more of a sophisticated politician. This worked as an interesting contrast to the first part. Ritesh did a very good job in capturing the different shades. He was particularly good in conveying menace with just his eyes. Saurabh Shukla in an extended was also a hoot. He made the movie more entertaining with his punch lines especially in the portions of taking pleasure in Dada Bai’s downfall.

Mrs (Zee 5): Mrs directed by Aarti Kadav is a very good take on internalized patriarchy. Like the original movie The Great Indian Kitchen Mrs also does a fine job in giving a voice to those women relegated to the household. Aarti Kadav brought in small but significant changes enhancing the story. A big change from the original is the profession of the protagonist coupled with the urbane location.

The appliances and the kitchen structure in Mrs are glossier: but the drudgery of a housewife remains the same. The dripping of water is also familiar coupled with numerous cooking shots of same nature.

In this movie Nishant Dahiya plays a gynaecologist. This element adds an interesting layer as man is able to understand other women’s bodies but when it comes to his own wife there is a very mechanical process. He doesn’t give a care on whether she also wants to participate in that moment. Sanya Malhotra as Richa did an excellent job in showcasing the different shades making the viewers root for her. 

Stolen (Amazon Prime): Karan Tejpal’s Stolen is a taut social thriller/drama; The atmospherics are similar to Navadeep Singh’s NH10 but Stolen has its own identity. The distinctiveness comes from the plot centred on two brothers. One of the brothers played by Shubham Vardan is the more considerate one. Abhishek Benarjee on the other hand is a typical corporate guy trying his level best to dissuade the other one from helping a poor woman.

This sibling dynamics with an emotional undercurrent gives the movie some of its best moments. The cinematography of Ishaan Ghosh also played a significant role. The visuals had a lived in feel. A major divide between the privileged and underprivileged came out in a solid manner as well.

Abhishek Benarjee in one of his best characters till date did an excellent job. The way Abhishek showcased the eventual transformation was fantastic to watch. Shubham Vardan also provided solid support. Mia Maezler as a desperate woman in search of her missing child was good too bringing in a raw intensity.

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Rewind 2025: Looking at films through gender, caste lens

This is an overview of Hindi, Telugu and a few Tamil and Malayalam movies, released in 2025, with gender and caste sensibilities.

Synopsis: Caste and gender-based plots are not alien to Tamil and Malayalam movies. The year 2025 saw Hindi and Telugu movie industries, too, realistically portraying caste and gender issues that we come across in present-day life. While some movies explicitly presented the issues, others were covert, often delegated to subplots. Though women were mainly used as props — to fall in love with the male protagonist — a few movies had women-centric narratives. There were female superheroes, too, in ‘Lokah Chapter 1: Chandra’ (Malayalam) and ‘Thamma’ (Hindi). Overall, the year promised better, more realistic cinema in future.

Caste-based storylines are not new in Tamil and Malayalam cinema. Surprisingly, cinemas in 2025 saw strong caste sensibilities reflected in Hindi and Telugu also. Dhadak 2, Homebound, Phule, Court, Uppu Kappurambu and 23 Iravai Moodu are some examples.

In Uppu Kappurambu, the caste angle is farcically comic, while other movies treat it seriously,  apart from raising pertinent questions. They make the viewers ponder caste inequalities, which exist years after the country gained independence.

In ‘serious films’ like Homebound, Phule and Dhadak 2, the caste, gender and religious discriminations are explicit, but in ‘slice of life’ and ‘light-hearted entertainers’ — such as Little Hearts (Telugu) and Aap Jaisa Koi (Hindi) —  they are obliquely presented.

Little Hearts is essentially a teenage romcom with an interesting plot. A laudable twist in the movie is when the female protagonist, Akula Khathyayani (played by Shivani Nagaram), displays her underlying strength while standing up for her love and career choice.

In Aap Jaisa Koi, director Vivek Soni looks at society’s double standards in dealing with women’s desires in an arranged marriage set up. Finding the female perspective in these films is more challenging. One has to go beyond the first look to see the gender dimension.

Sadly, in the increasing age of pan-Indian cinema, strong female characters are few and far between, as female leads are mostly used as either damsels in distress or glam dolls. The sexual gaze in films like Devara and War 2 is apparent.

In Devara, Janhvi Kapoor’s character Thangam’s role is to lust after the hero. In War 2, Wing Commander Kavya Luthra (Kiara Advani) is supposed to be a tough soldier, but her role’s highlight turned out in a bikini.

Even in the latest blockbuster, Dhurandhar, the college-going heroine, Yalina Jamali (Sara Arjun), does nothing other than fall for the hero. Seeing all these movies, one is tempted to say that smaller films have more gender sensibilities.

Earlier, the assumption was that gender and caste sensitivities were strictly confined to ‘arthouse’ movies because the politics presented were stark and in your face. However, this scenario has changed with some mainstream movies also questioning the oppressive practices regarding caste and women.

The emergence of new voices, both behind and in front of the camera, makes this scenario more refreshing. For instance, movies like Court, Dhadak 2 and Little Hearts have debutant directors. Similarly, the casts of these movies don’t always boast of big names. This trend is good for the industry it could present more novel stories.

Following is a peek into the movies that have both caste and gender, either separately or together.

Serious films

Shazia Iqbal’s Dhadak 2 (Hindi), a remake of the Tamil film Pariyerum Perumal, presents a solid combination of caste and gender. Dhadak-2 primarily focuses on the evolution of Neelesh ‘Neel’ Ahirwar (Siddhant Chaturvedi), a timid young man, growing up to one fighting for self-respect.

Through Neel, the film depicts latter-day caste discrimination, whether it is in a city or a rural setting. The import of caste is apparent in the constant jibes, including on the reservation, fired at Neelesh. He bears the insults for long, but his character undergoes a change by the middle of the second half, and he is forced to stand up against those taunting him.

Tripti Dimri’s Vidhi Bharadwaj, on the other hand, is an upper-caste Brahmin, more privileged than Neelesh, but has her own battles to fight. Her biggest battle involves a truly despicable cousin, Ronnie Bharadwaj (Saad Bilgrami). He believes that Vidhi is bringing dishonour to the family by falling in love with a Dalit.

Ronnie comes with a huge sense of entitlement. One of the standout scenes in Dhadak 2 is Vidhi’s showdown with Ronnie. She tears into his patriarchal mindset. In her journey with Neelesh, Vidhi also becomes more aware of the caste realities, making their romantic relationship a political rebellion.

Neeraj Ghaywan’s sophomore feature Homebound (Hindi) is a highly impactful film. Shortlisted for Best International Feature Film at the 98th Academy Awards, it makes the viewers contemplate the everyday struggles of the marginalised — in this case, a Dalit and a Muslim.

The movie has many scenes depicting the main characters getting taunted over their religion and caste, all of which are familiar, but most Indians prefer to ignore them without responding. Vishal Jetwa’s Chandan Kumar Valmiki tries to hide his caste identity till the movie’s end. His caste identity is revealed only after his death.

Homebound also features a couple of strong women. Sudha Bharti (Janhvi Kapoor), as a more empowered Dalit, has striking dialogues when she talks about Ambedkar’s philosophy of education, organisation and agitation.

In one scene with Chandan, she encourages him to complete his education, which will help him overcome the caste barriers. Chandan’s sister, Vaishali (Harshika Parmar), has a brief but important role. There is strength to the character, especially when she reminds her brother about why she couldn’t attend college like him.

Anant Narayan Mahadevan’s Phule (Hindi) is another movie that blends caste with gender. The movie is a biopic about two social revolutionaries, Jyotirao Phule and Savitribai Phule.

The husband and wife duo fought relentlessly for girls’ education and against the horrific caste discrimination. Jyotiba (portrayed in the biopic by Pratik Gandhi) himself went against his family by educating his wife.

One of the standout scenes in Phule involves Patralekha’s Savitribai holding her ground when threatened by a man from a ‘dominant’ caste. Throughout the movie, Savitribai is presented as an equal to her husband, even involved in more social work than him.

At every step, Jyotiba acknowledges his wife’s contribution, making Phule a solid tale of companionship.

23 Iravai Moodu (Telugu), directed by Raj Rachakonda, is about two poverty-ridden lower-caste men trying to rob a group of bus passengers. In an unfortunate turn of events, the bus catches fire, killing 23 people.

The actions of these two men are horrible, and the movie does not absolve them of their wrongdoings. But at the same time, there are intentional crimes committed by men of higher social strata.

However, they don’t toil in jail like these two men because of their standing in the social hierarchy. Even in jail, some of the works assigned to these two men reflect their caste.

The gender angle is represented with the female character Suseela, played by Tanmai. Suseela is facing the stigma of becoming a mother before marriage. Despite the numerous difficulties, there is an inner strength to the character. Suseela manages to make a living while fighting her own battles.

Ram Jagadeesh’s Court (Telugu) looks at the misuse of the POCSO Act through a teenage love story. Caste is an important part of the movie, but is not directly implied.

However, in two scenes, viewers get an idea of the hero’s caste background. The character Mangapathi (Shivaji) holds a mirror to numerous family patriarchs with a false sense of honour regarding young women. The defeat of a despicable man like him, both a casteist and misogynist, feels satisfying.

Santosh (Hindi), written and directed by Sandhya Suri, mixes caste with gender in an excellent manner. The story is about Santosh Saini, a widowed housewife-turned-police constable. Sandhya has added the systematic oppression of the Dalit community through a khap panchayat in the movie, which has been banned in India.

An important part of Santosh — banned in India — is the friendship between two women, a constable and an officer. Their scenes together have given the movie some of its best moments.

Mari Selvaraj’s Bison Kaalamaadan (Tamil) is based on the life of legendary kabaddi player Manti P Ganesan, nicknamed Bison. The film is a rousing tale of breaking numerous societal shackles.

A predominant barrier is caste. The caste name is not exactly specified, but we can easily make out that Dhruv Vikram’s ‘Vanaththi’ Kittan belongs to the marginalised section. Some of the conversations and also the obstacles he faces reflect his caste background.

The film also has a brief gender angle involving Anupama Parameswaran’s Raani. Raani is seven years older than the hero, but is clear about marrying him. This, too, came out in an impactful manner, especially in the temple sequence with Raani defying her brother.

Women-centric narratives

Rahul Ravindran’s The Girlfriend (Telugu) is a well-made feminist story questioning toxic masculinity. The movie focuses on a young woman’s battle to leave a dominating relationship.

Rahul, who has also written the story, does a smart job in using the Arjun Reddy (Dir: Sandeep Reddy Vanga, 2017) space but from a female perspective.

Unlike Shalini Pandey in Arjun Reddy, Rashmika Mandanna’s Bhooma Devi doesn’t remain a passive partner, but grows into an assertive woman, amply revealed in the break-up scene showing her perspective on why she doesn’t want a guy like Vikram alias Vicky (Dheekshith Shetty). The Ma Durga symbolism in the climax, with Rashmika letting it all out, represents the female rage.

Suparn Verma’s Haq (Hindi) is a gripping tale of perseverance and battle for one’s rights. It is inspired by the landmark 1985 Shah Bano case. The Supreme Court judgement reshaped the concept of legal rights for divorced Muslim women.

The movie is about society conveniently normalising abuse and twisting laws to silence women. The core theme of Haq is wonderfully captured in an important conversation between Yami Gautam’s Shazia Bano and her husband’s second wife, Saira Jahan (Vartika Singh).

It goes like this: “Kabhi kabhi mohabbat kafi nahi hoti, izzat bhi zaruri hoti hai” (Sometimes love isn’t enough, respect is also necessary). The statement sums up the battle of both the real and fictional Shah Bano.

Aarti Kadav’s remake of the acclaimed Malayalam movie, The Great Indian Kitchen, as Mrs (Hindi) is shinier but projects the same issues. A housewife’s daily grind is the movie’s central theme. Sanya Malhotra’s Richa Sharma wants to do something with her life, but is caught in a depressing cycle of feeding her husband and father-in-law.

Richa’s routine almost wears her down, but in a crucial turn of events, she decides to take matters into her hands. Richa’s graph — from a lively young girl to almost succumbing to patriarchy — is both well-written and portrayed.

Songs of Paradise (Hindi) by Danish Rezu is a relevant take on the resilience and rebellion against social norms. Through the tale of Kashmir’s first female singer, Padma Shri Raj Begum, the movie focuses on pursuing one’s interests without giving in to societal oppression.

The film does a fine job of celebrating the singer’s defiance. One of the most impactful dialogues in Songs of Paradise involves Saba Azad (as young Zeba Akhtar/Noor Begum) and a male character.

The dialogue, relatable to most Indian women, goes, “You’re a man; you look for an opportunity to showcase your talent. We, women, seek excuses to pursue our hobbies.”

Praveen Kandregula directed two important women-sensitive stories in Telugu, viz., Paradha and Subham. Paradha is a social drama, questioning archaic traditions along with the depiction of a strong bond of sisterhood between the three main characters. It also delves into how women should be more open-minded and inclusive.

Subham is a whacky ride filled with laughs and a strong feminist message. Critiquing the regressive content of TV serials and the alpha male concept is Shubham’s main theme.

The ultimate message of Subham is understanding and empathising with the women in our lives. The film doesn’t shy away from taking digs at the presentation of our mainstream protagonists through an important scene of the three women questioning the serial hero on his clichéd perception of women.

Bad Girl (Tamil), directed by Varsha Bharath, is a well-made coming-of-age story from a female perspective. It shows the process a young, freedom-yearning woman, Ramya (Anjali Sivaraman), from an orthodox family, undergoes to find liberation through a series of bad relationships.

Anjali does a good job in showcasing the emotional journey of the titular protagonist — how she grapples with societal expectations, personal aspirations and of course, her romantic relationships.

Another highlight of Bad Girl is the track of the mother and daughter. Through this subplot, the movie delves into generational differences. The ups and downs of heated arguments are relatable for many modern young women. The celebration of female friendships also enriched the movie.

Janaki V v/s State of Kerala (Malayalam), directed by Pravin Narayan, is about a woman exercising her right over her body. It is about a sexual assault survivor’s choice of keeping the baby or opting for abortion. The movie questions the failure of the state and the law in supporting the fundamental rights of a sexual assault survivor.

It does a fair job in portraying the emotional trauma faced by Anupama Parameswaran’s Janaki Vidhyadharan, both from the assault and the legal system. Pertinent points are raised about protecting fundamental rights.

Chhorii 2 (Hindi), directed by Vishal Furia, features a mother’s fight against a dangerous cult. More than the paranormal entities, the ghost here is patriarchal, justified in the name of tradition.

An important aspect of Chhorii 2 is the imagery of a narrow tunnel. This tunnel becomes an allegory for the representation of social structures suffocating multiple generations of women.

A Mention must also be made about the director’s use of  Soha Ali Khan as Daasi Maa. She is both a villain and a victim. It is very satisfying to see Daasi Ma joining hands with the protagonist (Nushrratt Bharuccha’s Sakshi). The two women standing together against the patriarchal cult is a powerful symbol of female power.

Jayant Digambar Somalkar’s Marathi movie Sthal is a strong critique of forced arranged marriages, where a girl is treated as a commodity. Unlike using the usual arranged marriage setup as a prelude to romance, this film reflects how families consider a girl as a financial burden, who must be “packed off” at the earliest.

The irony here is the juxtaposition of Savitribai Phule’s birth anniversary with the ritual of the female protagonist getting decked up as a doll. The movie ends on a powerful note with the girl standing up and breaking the fourth wall like the other impactful Marathi movie, Fandry.

Chandu Mondeti’s Thandel (Telugu) draws inspiration from a real-life incident involving a group of Indian fishermen. The film features a strong female protagonist, Sathya (Sai Pallavi). In the second half, she becomes an important pillar of support for the fishing community.

There is a deep strength in the way Sathya combats her inner dilemmas while at the same time doing her best to free the men from a Pakistani jail. She succeeds in making sure that the households don’t go hungry. At one point, Sathya is also called Thandel Rani. She is someone who is seen as a leader in her own right rather than just being a love interest of Naga Chaitanya’s Raju.

Light-hearted and slice of life 

On the surface, Anil I.V. Sasi’s Uppu Kappurambu (Telugu) looks like a farcical comedy, but in essence, it is about a woman sarpanch, Apoorva (Keerthy Suresh), finding her feet.

The very thought of a woman sarpanch frustrates the dominant caste. As the story progresses, Apoorva transforms from naïve and under-confident to eventually taking things head-on.

The caste politics come from a lack of space in a graveyard. There are scenes of two dominant castes fighting for more space based on lineage.

Little Hearts (Telugu), directed and written by Sai Marthand, revolves around two not-so-bright students and their coming of age. The movie has some important passages, elevating it from just being a fun ride.

One of these includes the agency given to Shivani Nagaram’s Akula Khathyayani in the movie’s latter half. Even the interval point with Kathyayani slapping Nalli Akhil Kumar (Mouli Tanuj Prasanth) as he addresses her as ‘aunty’ is a reflection of her strong-willed nature.

There is an understated strength to her character. This reflects in her taking charge of the relationship and quietly assuming responsibility to work it out. All this combined makes her hard as steel, as Akhil comments in the end. The age gap of three years, with the heroine being older than the hero, also makes Little Hearts an unconventional love story.

Anupam Kher’s second directorial venture, Tanvi the Great (Hindi), is an important tale of inclusivity with a strong female lead. Shubhangi Dutt’s Tanvi suffers from autism, but her passion for joining the army makes her overcome the challenges.

The movie’s core theme is perseverance and fighting against all odds. In spite of some unbelievable leaps, the viewers root for her.

Aap Jaisa Koi (Hindi), directed by Vivek Soni, is a feminist movie under the guise of a romantic comedy. The director used a familiar arranged marriage setup to deliver stinging lessons on patriarchy, especially on the society’s double standards on women’s desires and sexuality.

The most important subplot is connected to Kusum Tripathi (Ayesha Raza), an emotionally neglected housewife. She is often a victim of casual sexism. How the character breaks out of conventions by following her heart is a major highlight.

Anurag Basu’s Metro… In Dino (Hindi) features an important subplot with Neena Gupta’s Shibani Ghosh breaking out of a self-imposed rut in her twilight years. The movie gives an empowering message to women of taking life into their hands. The same can be seen in Konkana Sen Sharma’s Kajal Ghosh Sisodiya, also. Her strong attitude comes out well in dealing with her husband’s infidelity.

In 3 BHK Flat (Tamil), Meera Raghunath’s Aarti Vasudevan puts up with an unhappy marriage for a long time. But she never shares her woes with her family to avoid burdening them. However, a particular incident makes her snap, and she breaks out of it.

There is a poignant dialogue where Aarthi asks ‘Is abuse just physical?’ going beyond the traditional definition. How Aarti starts life afresh is inspiring for numerous women who go through marital abuse but may not have the strength to come out of it.

Mythical/Folklore

Both Dominic Arun’s Lokah Chapter 1: Chandra (Malayalam) and Aditya Sarpotdar’s Thamma (Hindi) feature mythical women defying the general trope of the knight in shining armour.

Both are women-centric superhero movies. While Lokah is a fantasy film dealing with real-world issues, Thamma is about a half-vampire/half-human breaking out of her tribe to fulfil her love.

In Lokah, Police Inspector Nachiyappa Gowda (Sandy) doesn’t like women with a modern outlook, and it is visible on more than one occasion. The female protagonist, representing a superwoman, Chandra aka Neeli (Kalyani Priyadarshan), takes on patriarchal structures while also standing up against an organ-trafficking racket.

Thamma, on the other hand, features a strong woman protagonist, Taraka/Tarika, portrayed by Rashmika Mandanna. Taraka is half-vampire and half-human. She goes against her tribe by following her heart. The character has a good mix of emotional vulnerability and ferociousness.

Oftentimes, it is Taraka who saves Ayushmann Khurrana’s Alok Goyal. This movie, for the most part, reverses the knight in shining armour trope.

A year ending on a strong footing

From the above-listed movies, we can see a growing trend of telling stories about different social realities: the new-age directors are taking up fresh themes, especially relating to caste and gender.

In these movies, the aspect of exercising choice comes out strongly. Also, the protagonists, whether it is the hero or heroine, are not rebels by design.

For example, in Paradha Anupama Parameswaran’s character, Subbalakshmi aka Subbu, does not make a statement about oppressive practices. She is a firm believer in traditions, but her perspective changes significantly due to her exposure to the outside world and her interactions with other women she comes across.

In Bison, too, the hero’s love for Kabaddi is what drives him to break the societal shackles. He was not born with a rebellious streak.

Another interesting aspect about these movies is the social milieu in which they are set. Small towns and rustic village atmosphere provide a fresh vibe. Apart from these movies having new-age actors, even the established commercial actors are experimenting with newer roles, like Janhvi Kapoor playing a Dalit in Homebound — and it is refreshing.

(Edited by Majnu Babu).

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Best of Telugu movies (2025): An all-round year for Nani and the storm of Little Hearts

An overview into some of the most impactful Telugu movies of the year irrespective of their box office results: also, the emergence of new actors who have made quite an impact with elements of caste and gender  

The year of 2025 like 2024 has belonged to small and medium budget films. A very distinctive feature among the successful films are the star casts featuring new kind of leading actors without the baggage of stardom. This is particularly true in the case of Court, Little Hearts and Mirai.

Court backed by popular actor Nani is an important social movie talking about the misuse of POCSO and also the caste structure. Director Ram Jagadeesh effectively used the set-up of a teenage love story to explore these topics. What also makes Court special is that the film is Ram Jagadeesh’s directorial debut.

Little Hearts written and directed by Sai Marthand is also a debut feature like the above mentioned Court. This too features a teenage love story but with a different social set up. The heroine in this movie Kathyayini (Shivani Nagaram) isn’t just 3 years older to the hero: she is also a strong-willed protagonist. This clearly comes out in the way of Kathyayini taking charge of the relationship. The interval point with her slapping Mouli’s Akhil when he asks are you aunty is another solid example of her strong-willed nature. Little Hearts is a perfect mix of coming of age with some adorable rom com moments.  Director Sai Marthand was thoroughly successful in entertaining the viewers. Not surprisingly the film turned out to be very profitable.

Kathyayini slapping Mouli’s Akhil as he asks whether she is aunty

Mirai directed by Kartik Gattameneni followed the template of Teja Sajja’s last Hanuman. Nevertheless, the movie was an engaging visual spectacle with strong back stories for the hero and the antagonist. Like Hanuman here too Teja Sajja pulled off the character’s transformation with ease. With Mirai Teja Sajja proved that he is here to stay. Manchu Manoj also shined in the negative role with a commanding voice.

Among the popular actors Nani had a double dhamaka both as an actor and producer. As an actor Nani hit it out of the park with the violent crime thriller Hit 3. The movie presented Nani in his most ferocious avatar till date, and he nailed the nailed the different shades.

Senior performer Venkatesh made a good comeback after the underwhelming Saindhav in 2024. Anil Ravipudi delivered a perfect Sankranti entertainer with an in form Venkatesh. As a man caught between his wife and ex girlfriend while handling an important task at hand Venkatesh raised many chuckles with his expressions and a wonderful sense of comic timing. Both Aishwarya Rajesh and Meenakshi Choudhary also added to the fun with their respective acts. A special mention though must be made of the child actor Bheemla Revanth Pavan Sai Subhash. He was simply boisterous with the OTT inspired curses. The child actor shared a wonderful chemistry with Venkatesh.

Another senior actor Nagarjuna had a solid year as well with two contrasting roles in Kuberra and Coolie. In Kuberra Nagarjuna played a conflicted CBI officer with panache, he brought out the inner dilemmas in an excellent manner. Coolie on the other hand saw Nagarjuna as an out out villain. He clearly had a blast playing an unhinged antagonist.

Among the actresses both Anupama Parameswaran and Rashmika Mandanna had strong roles in Paradha and The Girlfriend respectively. Both these movies feature women protagonists of a certain type. How the thought process changes and the eventual transformation is a delight to watch. In case of Paradha its about questioning archaic traditions. The Girlfriend on the other hand had one of the best climaxes in 2025 with Rashmika’s Bhooma letting it all out and a Maa Durga symbolism.

Following are some of the most impactful Telugu movies of the year

Court: Ram Jagadeesh’s Court is an important social drama led by an excellent cast. The movie threw light on a sensitive issue like misuse of POCSO. In today’s age of increasing macho heroes it was refreshing to see a story of two underdogs. In a way the film follows the template of Jolly LLB universe nevertheless Court is an engaging movie. A very important aspect of Court is its subtle depiction of caste hierarchies without spelling it loud. This comes out in two instances primarily. One is the heroes’ mother ironing clothes as a profession and the second one is Harshvardhan’s character saying to Priyadarshi on why he wants to save the protagonist, after all he is just a watchman’s son. The teenage love story featuring Harsh Rohan and Sridevi Appala has also had its highs especially the sequences of Premalo song. The performances led by a terrific Sivaji are an icing on the cake. Sivaji absolutely embodied the caste fanaticism and the misogynistic attitude. Priyadarshi as the underdog lawyer was good too with some important dialogues on how the judicial system needs to follow certain discretion. Both the young leads Harsh and Sridevi Appala did a fine job as well, but the former stood out in portraying the pain of a young man caught in a complex scenario.

Kuberra: Sekhar Kammula and Chaitanya Pingali’s Kuberra is easily the director’s most socio-political movie till date. Movies about financial scams aren’t new by any means but what makes the difference here is the integration of beggar’s community. Dhanush’s Deva is an underdog hero transforming into an unlikely champion. Through an underdog hero played by Dhanush the movie gives a relevant message on what true wealth means. It talks about how true wealth should help in improving people’s lives and not just hoarding riches.

Apart from a terrific Dhanush and Nagarjuna the integration of Rashmika’s Sameera was also well done. As a young woman caught in a major tussle Rashmika did a fine job in portraying the inner strength. Jim Sarbh too perfectly embodied the power-hungry capitalistic attitude with his demeanour. The movie also featured some impactful dialogues. They were often laced with philosophical undertones especially the scene of Rashmika where she talks about all of them being beggars in some way or other. The dialogue goes like this “I begged freedom from my parents. I begged my boyfriend to not break up with me. I begged my friend to let me stay at her place for a few days and now I’m begging people to give me a job. So all of us are beggars in some way or others, they are also dialogues critiquing capitalism in an impactful manner. The production design by Thota Tharani also played a crucial role in building an authentic atmosphere.

The Girlfriend: Rahul Ravindran’s The Girlfriend is a strong slap on toxic masculinity endorsed by the likes of Arjun Reddy and Animal. The movie focuses on the transformation of a timid woman Bhooma (an outstanding Rashmika Mandanna). How she goes from scared to a more assertive individual is a delight to watch in spite of a slow burn approach.

A lot of Bhooma’s suffocation is shown through symbolism and magic realism like the impactful interval sequence. Both the writing and Rashmika’s performance makes the viewers empathize with Bhooma’s struggles of wanting to break out.

The Girlfriend also has strong scenes of sisterhood. The scenes between Anu Emanuel and Rashmika though not a lot in number are a treat to watch, as Durga Anu brings in the required warmth especially in the sequence where she warns Bhooma about Dheekshith Shetty’s Vikram not being the right guy. As the controlling boyfriend Dheekshith Shetty was in top form too.

Little Hearts: Little Hearts directed by Sai Marthand is a fun coming of age tale with some good rom com moments. The movie features two protagonists who aren’t exactly the brightest bulbs when it comes to studies. The plot follows their journey from meeting at long distance coaching to a journey together. Akhil played by a wonderful Mouli is nursing the wounds of an intermediate break up when he meets Shivani Nagaram’s Kathyayini. What seems to be a temporary recourse develops into something deeper. A strong aspect of Little Hearts is the different process of love for the two protagonists. Unlike Akhil who gets instantly smitten by Kathyayini’s Ishqzaade hairstyle. She takes her own time in trusting the protagonist. Kathyayini comes with a very clear thought process of marrying whom she loves. Throughout the second half she comes across as a binding factor being a teacher/girlfriend as per the situation. The way she brings the change in Akhil without getting into a screechy mode like the wonderful bus sequence is a delight to watch. There is a moment in the bus when Akhil is about to abuse, and Kathyayini gives a hard look. She doesn’t say anything but it’s enough for Akhil to change his tone to more respectful. This is followed by a smile on Kathyayini face. Even when the matter gets serious at her home Kathyayini defends Akhil by saying that she proposed to him first which isn’t actually true. No wonder Akhil says he cannot leave her no matter what. Mouli absolutely nailed this important monologue elevating the movie from just a comedy. An important aspect of the pre climax more than standing for Akhil is the female autonomy with Kathyayini being the steering wheel of where the relationship is headed, this also reflects in the career choice later on. All this combined make her a steel rod and Shivani Nagaram did a very good job in bringing alive these qualities. What also added to the movie was Jai Krishna’s comic timing. His constant doubts about Akhil and Kathyayini’s love being doomed only to be proven wrong was terrific. The Bahubali parallels also came out well adding to the entertainment quotient. Among the senior actors both Rajeev Kanakala and SS Kanchi made their presence amply felt.

Thandel: Chandoo Mondeti’s Thandel is inspired from a real life incident involving a group of fishermen caught in Pakistani waters. The jingoism aspect coupled with the sketchy Pakistani characters did pull the movie down still the movie had a heartfelt love story. The director did a fine job in exploring the lives of fishermen bringing out a strong sense of brotherhood among the community. Thandel also benefitted from a strong technical department coupled with Naga Chaitanya and Sai Pallavi’s strong acts. Devi Sri Prasad’s score boasted of melodious songs like “Bujji Thalli” and “Hilesso Hilessa”. As Raju and Satya Naga Chaitanya and Sai Pallavi did a very good fine job in portraying the emotional complexities. Before Raju and his group drift into the Pakistani waters a major conflict arises between the couple threatening to destroy their relationship. These conflict points were handled well with the audiences understanding the dilemmas of both. The character of Sai Pallavi’s Sathya becomes an important anchor for the fishing community when Raju is stuck in Pakistan Jail. The strong inner strength is palpable in the way she takes things head on. This gender aspect also adds an interesting layer.

Andhra King Taluka: Mahesh Babu Pachigolla’s Andhra King Taluka is an engaging love letter relatable for numerous fans. Unlike Maneesh Sharma’s movie Fan this one does a much better job in using the emotional bond between a devotee and his favourite actor. A big strength of Andhra King Taluka is the climatic portion featuring heartfelt conversations between Ram’s Sagar and Upendra’s Surya. The positive influence of Surya on Sagar in overcoming anxiety issues and tackling challenges head on moves the audiences.

Ram Pothineni has always been a capable actor but the choices have always been a problem: But Andhra King Taluka showed the actor’s potential in an excellent manner. Ram delivered a knock out act especially the interval block. It is an emotionally charged moment and Ram did an excellent job. Upendra too lent in gravity as Sagar’s idol. The vulnerabilities of a major star came out well through his role. Upendra especially shined in the pre climax when Surya bares his soul out.  Andhra King Taluka makes for an engaging watch especially if you have been a diehard fan yourself.

Paradha &Subham: Praveen Kandregula’s Paradha and Subham are two very important women sensitive Telugu movies of the year. Paradha on one hand questioned the practice of archaic traditions through a fictional village. By using the veil as a symbolism Praveen Kandregula talked about the different kinds of obstacles faced by women. The movie also featured a strong sense of sisterhood among the three women protagonists in spite of the varied age gap and different social backgrounds. Anupama Parameswaran, Darshana and Sangeeta delivered powerful performances as well enhancing the narrative. Anupama was particularly good in bringing out the transformation from blind belief to becoming more liberated.

Subham on the other hand used the horror comedy format to question the stale nature of TV serials along with the concept of alpha male. A major highlight of Subham was the second husband played an excellent Gavireddy Srinivas. The actor generated a lot of humour as a proud alpha whose pride is massively hurt. The movie gave an important message on the necessity of communication in a marriage and understanding the women in your life rather than trying to be rough.

Anaganaga (ETV Win): Anaganga streaming on ETV Win has a simplistic core but an important message on the need to reinvent education system. The emotional drama featuring Sumanth and Viharsh as the son worked extremely well. How Viharsh’s character gradually gets over his stage fear and also academics gave some poignant moments.

The husband and wife arguments with Kajal Choudhary playing a strict principal were also well written. In spite of some major ideological differences between the two there are also understated romantic moments like Sumanth’s Vyas pacifying his wife. Later she too understands the husband’s point of view.

Director Sunny Sanjay also did a good job in showcasing the dark side of academic competition. You have a disturbing scene of class toppers awarded on the podium; on the other hand those who have failed are publically called out. The message regarding the need for empathy in education and how the race for top ranks is harmful in the long run came out in an impactful manner.

Uppu Kappurambu: Uppu Kappurambu on Amazon Prime is a whimsical social satire with an excellent Suhas. Director Ani. V Sasi flipped the popular Telugu poem on its head by saying that everyone is equally important.

The plot features a caste angle through what seems to be a bizarre fight over graveyard control. On the surface it may seem idiotic but the caste disparities with two influential families fighting it out is both funny and thought provoking.  Keerthy Suresh as a woman sarpanch takes a while to get going but the national award-winning actress soon settled down giving a very fine performance. Suhas as the graveyard caretaker Chinna was simply superb getting into the skin of the character with ease. He especially stood out in the scene when talking to the dead as if they are long lost friends.