Category: Year End Reviews

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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.

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Best of Malayalam and Tamil (2025):  A fantastic year for Mohanlal

An overview into the best movies from our neighboring states across different genres with particular focus on Kotha Lokah Part 1 and Bad Girl

2025 can easily be termed as a fantastic year for veteran actor Mohanlal. Whether it’s a revenge drama like Thudarum, a political thriller like Empuraan part 2/Lucifer. The actor had a rollicking time in the slice of life Hridayapoorvam too. A big reason for the movie success was Mohanlal’s comic timing. In spite of a very thin plot overstaying its welcome Mohanlal’s antics with numerous moments of self-depreciation made it a breezy watch. Coming to the other legendary actor Mammootty: he had a good outing as well with Kalamkaval. It’s based on a real-life serial killer called ‘Cyanide Mohan’. Cyanide Mohan was notorious for targeting a certain section of women. Kalamkaval is more of a Mammootty show reel than a cohesive film. As expected, the actor was top notch in portraying both the charming man as well as the ruthless criminal.

2025 has also been a solid year for Tovino Thomsas. In Narivetta he played a happy go lucky guy to empathizing and standing for the tribal community. In Kotha Lokha Part 1 Tovino had a fun extended cameo with the whacky characterization. Last but not the least his act in Empuraan 2 was also impressive. He played the grey shades convincingly.

Narivetta Movie Poster

Among the Malayalam movies this year a special mention must be made of the Dulquer Salmaan produced Kotha Lokah Part 1. The movie is a very good mix of western tropes with Indian Folklore. Dulquer deserves a huge appreciation for a backing a female centric project like this. Director Dominic Arun did a very good job in integrating real word issues through a conservative police officer played by a suitably creepy Sandy. Kalyani Priyadarshan made full use of the author backed role coming up with a very good act. Apart from the ones mentioned above there is also the taut investigative drama Officer On Duty directed by Jithu Ashraf.

Coming to Tamil movies films Bad Girl directed by Varsha Bharath needs to be specially mentioned. The movie is a wonderful coming of age through female lens. The plot focuses on a young woman from an orthodox Brahmin family. Her quest for liberation and eventually finding peace was well written and enacted.

Mari Selvaraj’s Bison on the other hand is a rousing tale of breaking social shackles. In spite of the staple sports elements and overdose of blood the movie does succeed in engaging the viewers. The caste of the Dhruv Vikram’s Kittan isn’t explicitly stated but the viewers can understand that the family comes from lower caste due to some of the conversations and obstacles faced.

Bison also featured a strong woman character in the form of Anupama Parameswaran playing the fierce Rani. Her character is seven years older to Dhruv Vikram’s one. This added an interesting dimension to the romantic subplot in spite of Anupama’s brief screen time.

Following is a brief overview into the best movies from our neighbouring states (2025)

Malayalam

Kotha Lokah Part 1 (Chandra): Dominic Arun’s Kotha Lokah Chapter 1 can be easily called India’s Wonder Woman. The movie is an excellent mix of western superhero tropes with a solid Indian folklore. The film bears a slight resemblance to the Tripti Dimri starrer Bulbbul too in terms of the men targeted by the female protagonist.

A strong aspect of Kotha Lokah Part 1 is the world building done by Dominic Arun as well as Santhy Balachandran. The establishment of Kalyani Priyardarshan’s mysterious nature and how it connects with Naslen’s Sunny was very well done. The growing bond between Sunny and Chandra with an undercurrent of romance makes the viewers wish that the two had met in different circumstances.

Mention must also be made of the origin story timing. The haunting visuals of Nimish Ravi coupled with Jakes Bejoy’s music elevate this emotional stretch further. As Chandra Kalyani combined strong physical agility with solid acting chops, Naslen on the other hand was an absolute riot with his one liners. There is an inherent sweetness to the part in spite of a certain lazy nature and Naslen brought that out wonderfully

Thudarum:  Tharun Moorthy’s Thudarum in more ways than one feels like a Drishyam 3 with Mohanlal playing a family man. Nevertheless, the movie is a gripping watch with some impactful social commentary on police atrocities and a false sense of pride.

In simple terms Thudaram focuses on the transformation of a former stuntman/driver Benz (an excellent Mohanlal). However, one-night changes everything connected to a truly despicable CI George (Prakash Varma doing absolute justice to the role).

A strong aspect of Thudaram in spite of the straightforward writing are the moments leading up to Benz transformation. It doesn’t come across as jerky and the reason for that are the adorable family moments of the first half. Viewers feel for Benz during a disturbing revelation. Mohanlal is simply outstanding especially in that sequence. The themes of abusing power as well as a common man’s fight against injustice came out solidly through the transformation of Benz.

Empuraan 2/Lucifer 2: Prithviraj Sukumaran’s sequel to the 2019 Lucifer stirred up a major controversy due to its hard hitting depiction of communal violence with a harrowing scene reminiscent of Godhra riots.  The film went through some reediting because of the political backlash. In spite of the changes there is no denying that Empuraan 2 takes a strong stand against religious extremism and its terrible effect on humanity. Mention must also be made of how Prithviraj explored the concept of “Power corrupts, but absolute power corrupts absolutely”. This angle came out excellently through Tovino Thomas’s Jathin Ramdas. His character goes through a major switch in comparison to the first part and Tovino did an extremely fine job. The character of Manju Warrier too has a different arc this time. There is a strong inner strength to Priyadarshini. This evolution was a delight to watch. The actress especially shined in the confrontation scenes with Tovino. Mohanlal as Abraham Quereshi/Lucifer once again shined with his trademark effervescence bringing in the right amount of charisma and mystery. The character of Abraham Quereshi often feels a cousin brother to George Kutty from Drishyam movies. Mohanlal especially shined in the sequences involving Indrajit Sukumaran’s Govardhan and also a pastor cum figure.

Narivetta: Narivetta directed by Anurag Manohar with story by Abhin Joseph is based on a real life tribal protest in 2003. The broad storyline encompasses the themes of land rights, state misusing its authority and the determination of marginalized communities. At the centre of this plot is Tovino Thomas’s Varghese Peter: A rookie police constable. The movie starts off in a non linier format with Varghese Peter running away from cops. This immediately grabs the viewers attention. Later we come to know to that Varghese is a police himself. From here the flashback starts establishing the initial happy go lucky nature an and how the gradual transformation happens.

A strong aspect of Narivetta is Tovino Thomas’s layered characterization: from the initial lack of clarity and then the post interval portions of finally understanding the politics of superior officers. How he comes to empathise and stands up for the tribal’s protest gives the movie some of its best moments. Tovino Thomas particularly shined in the face off between the police and Adivasis. These scenes benefit immensely from the fantastic cinematography and background score too.

Mention must also be made of the friendship between Peter Varghese and Suraj Venjuramood as an empathetic police official Basheer. The friendship between the two came out well leading to some poignant moments.

Officer on Duty: This Jitu Ashraf directorial is a taut investigative drama with an excellent Kuchako Boban as Harikrishna. The director along with Shahi Kabir was successful in humanizing the titular protagonist both as a police officer and human being this in spite of an extreme short temperedness. The movie also benefitted from Vishak Nair and co. He perfectly embodied the ruthless and psychotic nature of Christie. The second half has numerous intense sequences with the hero after this villain gang keeping the viewers on the edge. The portions of Harikrishna and Christie taking on each other are more for those who enjoy gruesome action: nevertheless for raw action lovers these sequences are a treat. Mention must also be made of an important flashbacking establishing the motivations of Christie. This involves a dastardly police officer whose atrocious behaviour sets the tone for a heinous set of crimes.

Tamil

Bad Girl: Bad Girl directed by Varsha Bharath is a refreshingly different coming of age through female lens. The tumultuous journey of the female protagonist in finding liberation is relatable for numerous millennial women.

The storyline of Bad Girl primarily focuses on Anjali Sivaraman’s Ramya. It’s about the many turbulent life scenarios she goes through. Ramya does many things defying the general social norms. Often times the movie feels like a character study rather than plot driven. The title here isn’t a judgment it’s more of a reflection on how traditional culture perceives a woman’s attempts to find her autonomy.

This is a major strength of Bad Girl movie. Varsha Bharath did an excellent job in showcasing the journey starting from Ramya’s teenage life. The generational differences between a mother and daughter came out in an excellent manner. As Ramya’s anxious mom Shantipriya was brilliant too in portraying the motherly concern as well as a rebellious woman in her own ways.

Veera Soora Dheeran (Part 2): S U Arun’s Veera Soora Dheeran (Part 2) is a good example of a star vehicle done right. Unlike the director’s last Chittha this one is more generic: nevertheless, the film makes for an engaging mass cinema with good character build up. The title Veera Soora Dheeran (Part 2) functions both as a sequel and prequel simultaneously: Prequel because there is an important flashback establishing the events leading up to the titular protagonist current predicament.

The storyline of this movie happens in one night. It involves the return of a once upon a time trusted henchman Kaali (a robust Vikram). Kaali is a settled man with a dark past. But due to certain circumstances he is left with no option other than to help a former boss Periyar Ravi (Telugu actor Prudhvi Raj in a different role).

A strong aspect of Veera Soora Dheeran (Part 2) is the balance of massy pitch with Kaali’s vulnerability. There is a palpable tension especially in the first half with Kaali going through a lot of internal and external conflicts. The cat and mouse game has some thrilling moments like the portion of a dangerous landmine.

What also works for the movie is the equal importance given to other characters. Prudhvi Raj as already said is seen in a refreshingly different role and he simply aced it. S J Suryah too is wonderful avoiding his usual mannerisms. The character starts off as a sincere police officer but he soon becomes a man consumed with revenge and calculated malice. This sharp writing makes the movie an intelligent masala film. Yes things start to stagnate with the flashback portion nevertheless there is a lot to enjoy

Bison: Mari Selvaraj’s Bison has a template story but what makes it click is the rousing manner in which the protagonist breaks numerous societal shackles. The film is based on the life of a legendary Kabaddi player Manthi P. Ganesan nicknamed as Bison. Upcoming actor Dhruv played the title role.

A strong aspect of Bison is the brilliant performances headed by a fantastic Pashupathy: From being emotionally conflicted to becoming an important pillar of support the character goes through myriad emotions. Pashupathy simply nailed the graph of Veluswamy. Mention must also be made of how Mari Selvaraj uses the characters of Lal and Ameer. Yes the portions could have done with some serious trimming but the humanness with which Mari Selvaraj portrays them is excellent. The subplot of warring factions is never presented in a caricaturist manner. Lal especially stands out in the scenes supporting Dhruv Vikram’s Kittan.

Anupama Parameswaran has a small but significant role: Her character Rani is older to Dhruv Vikram’s Kittan and the romantic subplot particularly Anupama’s fiery performance makes the love story interesting. It’s good to see movies normalizing the heroine being older than the hero and more importantly having a happy ending. As Kittan Dhruv did a fine job in justifying the tough persona. He particularly excelled in the scenes of showcasing vulnerability.

Dragon: Ashwat Marimuthu’s Dragon is a roller coaster ride of emotions. It’s in equal parts emotional and also a laugh riot. Through a terrific Pradeep Ranganathan Ashwat broke the trope of a rowdy boy being cool. A serious issue like the consequences of taking shortcuts was also portrayed well without being overtly melodramatic.

A strong aspect of Dragon is the dynamics between Pradeep Ranganathan’s Raghavan and Mysskin’s Mayilvahan. Mayilvahan knows Ranganathan inside and out: he makes a re entry into the protagonist’s life at a very crucial point. Mayilvahan is a righteous man but at the same time he isn’t a caricature. He believes in giving second chances. Mysskin brought certain warmth to the part in spite of an outwardly stern nature. Mayilvahan pushes Raghavan in making him realize the mistakes. The dynamics between these two characters takes the graph of second half to a whole new level.

The post interval portion has a crucial message about redefining heroism as nobility rather than as just success. A key emotional outburst from Pradeep Ranganathan elevates the film to a higher moral plane: something which we don’t generally see in the mass template. Mention must also be made of Anupama Parameswaran as Raghavan’s ex. She brings in an emotional resonance especially in the second half.

Tourist Family: Tourist Family directed by Abhishan Jeevinth is a highly optimistic yet an important tale of humanity. The movie broadly encompasses the themes of displacement, identity, familial bonds and the need for empathy through an immigrant family seeking refuge in Tamil Naidu. 

This family consists of Dharamdas along with his wife and sons. Sasikumar and Simran played the husband and wife: The two sons are played by Mithun Jai Shankar and Kamlesh Jagan. Yogi Babu is the relative helping out Dharmdas and co.

A strong aspect of Tourist Family is the family friendly tone in the age of macho heroes and expansive set pieces. The plot is very simplistic but what makes the difference here is the narration. The movie has ample moments of fun as well emotionally poignant sequences. The family dynamics have a lived in feel too further enhanced by the cast.

Sasikumar as Dharamdas did a wonderful job in portraying the different facets. Simran as Vasanthi played the role with grace and also a strong inner strength. Among the two sons Kamalesh Jagan brought in some laughs with his comic timing. Yogi Babu as the relative also delivered some chuckles.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Best Telugu web series (2025)

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

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

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

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

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

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

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

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

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

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Best of Bollywood web series 2024: A good mix of fresh stories and continuation of old seasons

An overview into some of the most impactful Hindi web series covering different genres.

Like the last few years, 2024 has also seen numerous filmmakers and production houses enter the OTT space.

A solid example of this is Sanjay Leela Bhansali’s Heeramandi— a powerful women-led story focusing on the contribution of Tawaifs in India’s freedom struggle. The web show had plenty of Bhansali’s grandeur and his usual empathy for the Tawaifs.

Mulk (2018) and Article 15 (2019) director Anubhav Sinha also made an impactful OTT debut with the hijack drama IC 814: The Kandahar Hijack. The web series revisited a hugely agonizing period when three Pakistani terrorists had hijacked a flight going from Delhi to Katmandu.

Karan Johar’s Dharmatic Entertainment a sub-wing of Dharma Productions produced two shows of diverse genres. The first one was the taunt investigative thriller/drama Gyraah Gyaarah. The series directed by Umesh Bhist kept the viewers intrigued with the additional concept of time travel, a cop in 2016 finding a walkie-talkie connecting him to a policeman from the past. Kill fame Raghav Juyal showcased his versatility with a wonderful portrayal of an impulsive cop.

The other was Collin D’ Cunha’s Call Me Bae, a breezy coming-of-age story with a strong sense of sisterhood. Ananya Pandey as Bella aka Bae delivered a winsome act nailing both Bella’s quirks and the emotional scenes too.

Continuation of series

In 2024, many popular series returned with new seasons. Among them, Panchayat Season 3, directed by Deepak Kumar Mishra, stood out.

The highlight of Panchayat Season 3 was its portrayal of grassroots politics, with intense scenes of political rivalry. The earthy humour from the previous seasons was also maintained, making it both engaging and entertaining.

Maharani Season 3, directed by Saurabh Bhave, was a gripping tale of politics and revenge. Loosely inspired by 1990s Bihar, the series continued its strong socio-political commentary. Bhave captured the illegal liquor trade despite the official ban and effectively depicted the power struggles and ruthless political world. Huma Qureshi once again delivered a powerful performance in the lead role.

Following are some more details of the most impactful Hindi web series this year

Heeramandi

Manisha Koirala in Heeramandi
Manisha Koirala in ‘Heeramandi’. (X)

Sanjay Leela’s Heeramandi features a complex storyline with numerous characters and backstories. It takes time for viewers to understand the direction of the plot but soon captivates with powerful moments and performances.

The best aspect of Heeramandi is how Sanjay Leela Bhansali blends the internal politics of Tawaifs with the Indian freedom struggle, showing how they played a crucial role. The series also delivers hard-hitting dialogues, revealing that not only the British but also Indian nawabs, were fighting for supremacy through a divide-and-rule strategy.

A particularly poignant moment occurs when the Tawaifs march toward a prison wall at night. The background score, combined with Bhansali’s song “Azadi”, gives the audience goosebumps.

The performances, led by Manisha Koirala and Sonakshi Sinha, were outstanding. Among the male leads, Taha Shah made the strongest impact, capturing the internal struggle of a young man torn between love and responsibility.

Freedom At Midnight

A still from the series Freedom At Midnight
A still from the series ‘Freedom At Midnight’. (Instagram)

Nikhil Advani’s adaptation of the sprawling novel by the same name was a brilliant exploration of the events leading up to partition. The director along with his writers skilfully captured the political turmoil of those times without blaming a particular political party.

The series had many goosebumps moments, particularly the portions of riot-torn neighbourhoods. The scenes of communal strife resulting from religious discord have a certain contemporariness as the religious divide remains a major issue today.

The acting performances led by Sidanth Gupta as Jawaharlal Nehru and Chirag Vohra as Mahatma Gandhi further enhanced the solid writing. Ashutosh Pataka’s music was also poignant enhancing the plot at various junctures. The tunes had a haunting quality.

Killer Soup

Konkona Sen Sharma in Killer Soup
Konkona Sen Sharma in ‘Killer Soup’. (X)

Abhishek Chaubey’s Killer Soup is a delightful mix, blending influences from William Shakespeare and Virginia Woolf. The series is based on real-life incidents from Telangana.

Konkona Sen Sharma plays Swati, a housewife who dreams of owning a restaurant but lacks support from her husband, Prabhu. At the end of the first episode, Prabhu catches Swati with her lover, Umesh, leading to a major twist. Manoj Bajpayee is seen in a double role as both husband and illicit lover.

A standout element of Killer Soup is how Chaubey infuses Shakespearean touches into the story. One example is a private detective ghost who helps a cop, played by Nassar. The ghost, visible only to Nassar, offers him advice whenever he’s in a bind.

These moments have a touch of magical realism. While the situations may seem absurd, they are equally fun to watch. Chaubey’s tribute to Virginia Woolf shines in how he humanizes Swati’s character. Swati’s determination to open her own restaurant and her desperate need for respect are portrayed poignantly.

Konkona Sen Sharma flawlessly portrays Swati’s shifting moods, moving from loving to intense without missing a beat. Manoj Bajpayee is also excellent, especially as the illicit lover, Umesh.

Murder in Mahim

A still from the series Murder in Mahim
A still from the series ‘Murder in Mahim’. (X)

Murder in Mahim, directed by Raj Acharya, is a gripping drama that explores homophobia in depth. The series highlights the challenges faced by the LGBTQIA+ community and how societal acceptance remains slow, despite the removal of Article 377.

Based on a novel by Jerry Pinto, the plot centres around a series of murders targeting the LGBTQIA+ community. Vijay Raaz plays the lead cop, Shivajirao Jende, while Ashutosh Rana portrays Peter Fernandes, a retired crime journalist and Jende’s long-lost friend, who becomes an important ally.

Murder in Mahim balances the murder mystery with a critique of homophobia. Beyond this, the father-son dynamic between Peter and his son adds emotional depth, especially as they hold opposing views on homosexuality. This tension provides some of the series’ most powerful moments.

An important metaphor in the series is the restroom at a Mumbai local station, intended to be a safe space for the LGBTQIA+ community but instead fueling their fears of societal rejection.

Vijay Raaz and Ashutosh Rana are solid performers who don’t need a particular introduction, here too the senior actors did a fantastic job. The surprise package though was the young actress Shivani Raghuvanshi in the role of Firdaus Rabbani, a female police officer and a closeted member of the LGBTQIA+ community, making a lasting impact with her performance.

Maamla Legal Hai

Ravi Kishan in Mamla Legal Hai
Ravi Kishan in ‘Maamla Legal Hai’. (X)

Maamla Legal Hai, directed by Rahul Pandey, is a delightful satire on the legal system. The eight episodes explore eccentric cases inspired by real-life incidents.

At the centre of the show is street-smart advocate VD Tyagi, played brilliantly by Ravi Kishan. Tyagi, who aspires to become the bar association president, is skilled at finding loopholes and winning cases with ease. The series touches on serious issues, like lawyer strikes affecting cases and the connubial rights of prisoners, but presents them in an entertaining way.

One of the most bizarre cases is about a husband wanting to divorce his wife because she didn’t feel shy on their wedding night. While this may seem unbelievable, a newspaper clipping at the end confirms it really happened.

Ravi Kishan shines in his role, but Nidhi Bhist, as fellow lawyer Sujatha, also impresses with her excellent performance, matching Kishan’s brilliance.

IC 814 The Kandahar Hijack

Vijay Varma in IC 814 The Kandahar Hijack
Vijay Varma in ‘IC 814 The Kandahar Hijack’. (X)

Anubhav Sinha’s IC 814: The Kandahar Hijack is a refreshing hijack thriller/drama in many ways. It subverts the trope of a larger-than-life hero and offers a nuanced portrayal of terrorists, making them feel like complex characters. For example, there’s a scene where the terrorists play Antyakshari with the passengers, and one comforts an air hostess when she vomits from the stench.

Even in the case of Captain Sharan Dev, played by Vijay Varma, he is vulnerable like the other passengers, but his strong determination shines through. The web series is also refreshing in how it avoids over-the-top nationalism.

The series blends real-life events with dramatized moments, using a voiceover alongside archival footage. Merging these two elements is difficult, but Sinha does an excellent job.

Vijay Varma delivers a terrific performance, and Manoj Pahwa also makes a strong impact as the aggressive official. Pahwa commands attention, whether negotiating with the hijackers or conversing with the suave Aravind Swamy.

Call Me Bae

Ananya Pandey in Call Me Bae
Ananya Pandey in ‘Call Me Bae’. (X)

Collin D Cunha’s Call Me Bae is a breezy coming-of-age story. Ananya Pandey plays Bella, a rich housewife, who is kicked out of her in-laws’ house after being caught getting cosy with her gym trainer, played by Varun Sood. Left to fend for herself, Bella’s mother also distances herself.

Bella’s struggles are presented in a light, sanitized way. She isn’t shown sleeping on footpaths or hustling in local trains. The show uses tongue-in-cheek humour to portray Bella, and once viewers adjust to the tone, there’s a lot to enjoy.

The best part of Call Me Bae is the camaraderie between Ananya Pandey’s Bae and Muskkaan Jaferi’s Saira Ali. Muskkaan’s character enters at a critical point and quickly becomes a pillar of support for Bella. Her witty one-liners add much to the show, and through her performance, Muskkaan makes viewers wish for a strong friend like Saira.

The show also features two other important women, played by Niharika Lyra Dutt and Lisa Mishra, who play key roles in Bella’s life. Vir Das adds spice as an arrogant journalist, with his confrontation scenes with Ananya being a major highlight.

Ananya Pandey excels in the title role, skillfully portraying Bella’s transformation.

Yeh Kaali Kaali Ankhein Season 2

A still from the series Yeh Kaali Kaali Ankhein Season 2
A still from the series ‘Yeh Kaali Kaali Ankhein Season 2’. (X)

Yeh Kaali Kaali Ankhein Season 2 is a pulpy sequel with engaging twists and a strong Shakespearean touch. The famous Shakespeare quote, “The course of true love never did run smooth,” perfectly describes the twisted love story of Vikrant, played by Tahir Raj Bhasin.

Like the first season, the second benefits from the layered characterization of Vikrant. By the end of season one, he had become morally ambivalent. In this season, his grey shades are even more pronounced. Much like Sushmita Sen’s Aarya, Vikrant is forced to confront his inner demon due to certain circumstances.

Tahir does a terrific job portraying Vikrant’s emotional turmoil, especially when he realizes that Shikha (played by Shweta Tripathi) is no longer his. He is devastated when Shikha marries someone else and confronts her. In response, Shikha points out that he too married Purva (Aanchal Singh), bowing to circumstances. Tahir’s portrayal of Vikrant’s broken ego is exemplary.

Aside from Tahir, the season delves deeper into Purva’s character, revealing how she became an extremely possessive person. There is a powerful scene where Saurabh Shukla’s Akheraj Awasthi apologizes to Vikrant, saying he should have raised her better. Aanchal Singh does an excellent job humanizing her role as an obsessive lover.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/best-of-bollywood-web-series-2024-a-good-mix-of-fresh-stories-and-continuation-of-old-seasons/

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Best of Tollywood web series 2024: A solid showcase for the evolving OTT space in Telugu

An overview of the best web shows in Telugu which have left a solid impact with its storytelling and themes.

Web shows in Telugu have witnessed a slow yet steady growth both in terms of quality and quantity. The last few years have seen numerous impactful web series.

In 2023, there were two great shows Dhootha and Newsense. Both explored the topic of journalism through a different lens. Vikram Kumar’s Dhootha had a supernatural touch with a newspaper cutting playing a pivotal role. The Naga Chaitanya starrer made some important points on the dangers of intersecting politics and journalism, a relevant issue even today.

Newsense on the other hand directed by Sri Prawin Kumar was an insightful take on the nexus between media and rural politics. The story written by journalist Priyadarshini Ram reflected the lived realities.

2024 too gave us numerous web series, covering important social topics like Surya Manoj Vangala’s Brinda starring Trisha in a non-glamorous role. Using the genre of an investigative drama Surya Manoj Vangala explored the side effects of extremism both religious and otherwise.

Similarly, Paruvu directed by the duo of Siddarth Naidu and Rajesekhar Vadlapati was an engrossing social thriller focusing on different issues like caste, greed and communal harmony. The use of the funeral background also kept the viewers hooked adding to the tension.

Apart from thrillers, the second season of Save The Tigers went deeper into marital problems faced by today’s couples while maintaining the entertainment quotient.

This year also saw Telangana’s first detective web show Vikkatakavi: The Chronicles of Amarigiri led by an excellent Naresh Agastya.

Director Pradeep Maddali immersed the viewers into the world of Amaragiri. The director skilfully blended Telangana folk beliefs with the subplot of a bio-war

Following is the list of the best web shows in Telugu in 2024.

Brinda

Trisha in Brinda
Trisha in ‘Brinda’. (X)

Brinda opens with a disturbing prologue set in the mid-1990s, where a young girl becomes a scapegoat in a ritual to satisfy a goddess. This unsettling start sets the tone for the main plot. The story follows Brinda, a newly appointed sub-inspector, portrayed by Trisha.

Initially confined to desk work, Brinda suffers from anxiety and relies on medication. When a series of murders occur, she defies her superiors, leading to life-altering consequences.

A key strength of Brinda is how Surya Manoj Vangala expands the story beyond Brinda’s character. While Trisha is central, Ravindra Vijay, playing fellow cop Sarathi, also plays an essential role. Sarathi is waiting for a breakthrough in his career and personal life. The evolving dynamic between Brinda and Sarathi creates some of the show’s most compelling moments.

In addition to themes of extremism and blind faith, Brinda also addresses gender discrimination in the workplace and the importance of child care in juvenile prisons. Trisha breaks away from her glamorous image to deliver a nuanced performance. Alongside Ravindra Vijay, Indrajith Sukumaran also stood out as the charming yet calculating Dr Satya/Prof. Kabir Anand.

Save The Tigers Season 2

A poster of the series Save The Tigers Season 2
A poster of the series ‘Save The Tigers Season 2’. (X)

Save The Tigers Season 2 successfully took off from the immensely popular first one. New director Arun Kothapally did a great job maintaining the entertainment value while delving deeper into marital issues.

The theme of the seven-year itch stood out, through the character of Vikram, played by Krishna Chaitanya. Vikram works on a project with Harika (Darshana Banik). What starts as a professional relationship soon turns into mutual attraction. However, Vikram realizes that understanding his wife is more important, and a better sense prevails.

As in Season 1, the interactions between Abhinav Gomatam and the house help were a highlight. A memorable scene occurs when Rohini discusses her business aspirations, joking about what captions to write on an auto rickshaw, leading to some hilarious moments. The director also made some valid points about people who blindly believe gossip spread by news channels, particularly about actresses.

Priyadarshi, as Ghanta Ravi, continued to shine with his impactful performance, excelling in both comedic and emotional scenes. Among the female cast, Jordar Sujatha made the biggest impact.

Vikkatakavi The Chronicles of Amaragiri

Still from the series Vikkatakavi
Still from the series ‘Vikkatakavi’. (X)

Vikkatakavi, directed by Pradeep Maddalli, was a highly engaging detective thriller with a strong Telangana flavour. The story followed Naresh Agastya as Ramakrishna, also known as Vikkatakavi. Apart from being a brilliant student, Ramakrishna is renowned for his exceptional investigative skills. Due to certain circumstances, he embarks on a dangerous mission in the village of Amaragiri.

One of the standout aspects of Vikkatakavi was its world-building. Cinematographer Shoeb Siddiqui’s work was particularly impressive. The rustic village atmosphere, combined with thrilling night sequences, drew viewers in. The series also succeeded due to the constant tussle between superstitions and rationalism.

Naresh Agastya’s performance in the title role further elevated the plot. He brought the right mix of boyish charm and intensity to his character. Among the supporting cast, singer-turned-actor Raghu Kanche also impressed with his remarkable performance. His ability to convey negative traits through subtle expressions was a delight to watch.

Paruvu

A still from the series Paruvu
A still from the series ‘Paruvu’. (X)

Paruvu, directed by Siddarth Naidu and Rajasekhar Vadlapati, is a well-crafted thriller that tackles various social issues. While the core plot revolves around the theme of honour killing, what makes the show gripping is how the directors blend different aspects into the central narrative.

The story centres on Nivetha Pethuraj’s character, Dolly (aka Pallavi), and her husband Sudheer (Naresh Agastya). Dolly had married Sudheer against her family’s wishes and now returns to her native village, Guntur, to pay respects to her deceased uncle. Her cousin, Chandrasekhar (Chandu), picks them up. Dolly is heavily pregnant but this doesn’t soften Chandu. There is an exchange of heated words leading to a big turn of events.

A major strength of Paruvu is its well-written characters, beyond just the leads. Each character has shades of grey, with Sudheer and Pallavi occasionally appearing opportunistic.

The funeral setting adds to the drama, with the relatives insulting each other while settling old scores. At times, it seems like no one cares about the departed soul, enhancing the narrative.

Both Nivetha Pethuraj and Naresh Agastya delivered brilliant performances, fully embodying their characters. In the supporting cast, Naga Babu surprised with his portrayal of MLA Ramayya, bringing out the impact of caste-based politics in rural Andhra. Praneetha Patnaik also gave a noteworthy performance.

Bahishkarana

Anjali in Bahishkarana
Anjali in ‘Bahishkarana’. (X)

Bahishkarana, directed by Mukesh Prajapathi, is an intense rural drama that effectively transports viewers to the era of feudalistic landlords.

Anjali plays the mysterious Pushpa, who arrives in the village of Peddapalli. She then becomes involved with Shivaya (Ravindra Vijay), who assigns his right-hand man, Darshi (Sritej), to look after her. As the story unfolds, Darshi and Pushpa fall in love, with many twists and turns along the way.

A strong aspect of Bahishkarana is its period setting. Cinematographer Prasanna Kumar does an excellent job capturing the rustic landscape of Peddapalli. The love story between Darshi and Pushpa is well-developed, making the viewers hope for a happy ending.

The dialogues, written by Shayam, are perfectly in sync with the story. They offer impactful social commentary on the exploitation of the poor, while also addressing how society views women like Pushpa.

The performances of the three main characters were captivating. Anjali delivered a bold and compelling performance. Ravindra Vijay’s portrayal of Shivaya, with shades of legendary actor Rao Gopal Rao’s roles, was excellent. Shivaya appears to be a do-gooder but is, in fact, a womanizer, and Vijay brought this subtle menace to life. Sritej also impressed with his rugged portrayal of his character.

At times, the show felt reminiscent of Rangasthalam, but overall, it remained engaging.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/best-of-tollywood-web-series-2024-a-solid-showcase-for-the-evolving-ott-space-in-telugu/

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Best of Malayalam and Tamil movies (2024): An overview into the best movies which have come from our neighboring states across different genres

A few posters of the best Malayalam movies (2024)

Adujeevitham movie banner

Manjummel Boys image

Ullozhukku movie image

Just like the previous years 2024 has also seen a huge range of stories from Malayalam and Tamil across different genres. For example both Adujeevitham : Goat Life and Manjummel boys were excellently made survival dramas/thrillers keeping the viewers on the edge. In case of Adujeevitham the movie also made a strong statement on the plight of not so educated men going to the gulf and becoming slaves. Adujeevitham was based on the very successful novel Goat Days and director Blessy did a wonderful job in capturing the soul of the novel while giving it his own touches. Prithviraj Sukumaran in the title role of Najeeb delivered a life changing performance perfectly capturing the emotional trauma of the protagonist. Manjummel Boys was also based on a real life story a group of friends going on a vacation in Kodaikanal, there one of them gets trapped in the Guna Caves leading to numerous tension filled moments. Manjummel Boys was made on a mere budget of 20 crores with not so known faces but the film turned out to be major blockbuster. The movie was vastly appreciated for its technical aspects in particular. Apart from Adujeevitham Prithviraj was also seen in the comedy Gurvayoor Amabalanadayil. The movie was a breezy watch majorly bolstered by Prithiviraj’s act of a comic villain.

On the other hand there was the romantic comedy Premalu again starring not so known faces. It was a breezy rom- com focusing on the lives of young adults getting into their first jobs and enjoying a newly found freedom away from their homes. On the surface the storyline is simple but director Girish AD did a fine job in engaging the audiences. The performances of the lead cast also made the movie enjoyable. One of Malayalam’s major actors Fahadh Faasil was one of its producers. As an actor too Fahadh had a very good year with the action comedy Aavesham. Aavesham focused on a bunch of engineering students taking the help of a gangster for taking revenge on seniors leading to a drastic change in their lives. Aavesham was a major success on the account of its whacky characters and a wonderfully eccentric Fahadh Faasil. The crackling dialogues were another huge asset particularly the interactions between Fahadh’s Ranga and Sajjin Gopu in the role of Ranga’s go to man.

Premalu and Aavesham

Noted Hindi director Abhishek Chaubey joined hands with Ronnie Screwvala with the hugely poignant Ullozhukku. This Christo Tomy directorial was a gripping emotional drama on human frailties. Urvasi and Parvathy Thiruvothu were simply fantastic in their respective parts perfectly embodying the story’s complex dynamics.

legendary actor Mammootty had a pretty good year this time too though not on par with 2023. Among the three releases Rahul Sadhasivan’s Bramayugam turned out to be the best one. In this movie Mammootty played the enigmatic Kodumon Poti. Mammooty simply chewed the scenery coming up with a terrific act. He terrified the viewers with just his body language. In spite of the flaws Bramayugam was an engrossing watch particularly the dialogues related to oppression of lower caste and the desire for power corrupting everyone irrespective of whether you are rich or poor. Midhun Manuel Thomas’s Abraham Ozler saw Mammooty in an extended special appearance, in spite of the less screen time the legendary actor made his presence amply felt. Turbo directed by Vysakh was a typical commercial entertainer with Mammooty having a blast. Mention must also be made of Jayaram who scored a commercial hit with the medical thriller/drama Abraham Ozler. Jayaram was mighty effective as the cop who is in a relentless pursuit of a serial killer while battling his own personal tragedies.

As far as Tamil movies go Vijay Sethupati had a very good year with Maharaja and the second part of Viduthalai. Maharaja saw Vijay Sethupati as a desperate father, Viduthalai 2 on the other hand showcased him as a social crusader. Vijay Sethupati nailed both the roles with charismatic ease. Sivakarthikeyan also hit the big league with the war drama Amaran. Based on the life of major Mukund Sivakarthikeyan seamlessly transformed from a boy next door to a brave army man.

96 Director C Prem Kumar once again explored the theme of nostalgia in a different setting. The movie Meiyazhagan with wonderful performances by Karthi and Aarvind Swamy was a big breadth of fresh air amidst larger than life heroes. The movie was a heartwarming emotional drama on self discovery and the importance of moving on. Lastly PS Vinothraj’s Kottukaali (The Adamant Girl) was a powerful take on silent rebellion. A strong aspect of Kottukaali was the fantastic use of visual metaphors. Through the visual metaphors PS Vinothraj did a wonderful job in showcasing the defiance of Anna Ben’s Meena

Some of the best Tamil movies

Maharaja and Viduthalai Part 2

Amaran

Meiyazhagan

Kottukaali

Now let’s take a dive into the best of Malayalam and Tamil movies in 2024

Malayalam

1 Aadujeevitham (The Goat Life)

Blessey’s Aadujeevitham centered on the life of Prithviraj Sukumaran’s Najeeb. The movie focused on how Najeeb’s life takes a very dark turn upon taking the decision of going to the gulf in order to give a better life to his family by earning more money. However a series of events leads to Najeeb becoming a goat herder in a hot desert with no hopes of coming back. The movie showcased the emotional and physical hardships and how he eventually returns back to his native place after a long ordeal. The best part of Aadujeevitham was how Blessy juxtaposed the flashback portions of Najeeb’s happy life in Kerala and his present wretchedness. The movie takes its own sweet time in showing the transformation of Najeeb but this gradual process helped the movie making the viewers strongly root for the protagonist. The film also benefited from the top notch technical team with particular mention to Sunil K’s cinematography. He did a splendid job in capturing both the beautiful Kerala back waters along with portions showcasing the numerous hardships that Najeeb and co face in the hot desert. In spite of an overindulgent second half Aadujeevitham was an heart wrenching survival drama. In the title role Prithviraj came up with a superlative performance. His physical transformation into a thin and unkempt man is on par with the best of international actors. Mention must also be made of KR Gokul who also stood out with his heart touching portrayal of Hakim. Amala Paul as Najeeb’s wife also shined in her brief role.

2 Manjummel Boys

Manjummel Boys directed by Chidambaram was a chilling survival drama. The story was set in the year 2006 focusing on a group of friends heading to Kodaikanal. Upon going to Kodaikanal they visit Guna Cave. Guna Cave comes with a certain history, one of the friends fall into a pit famously known as Devil’s kitchen. The rest of the story looked at how the group of friends known as Manjummel boys saved their friend.

A strong aspect of Manjummel Boys was how Chidambaram depicted the theme of friendship. The movie has a slow start but majorly picks up pace when the group of friends reach Kodaikanal. Chidambaram’s juxtaposition of an important childhood portion with the main incident was also superbly done. The production design also enhanced the drama with its realisticness. Particular mention must be made of the pit where the friend falls. Apart from the stellar production design Shusin Shyam’s background score also deserves a major appreciation for a job very well done. Among the actors Soubin Shahir and Sreenath Bhasi stood out with impactful performances.

3 Ullozhukku

Ullozhukku directed by Christo Tomy is a heartfelt emotional drama set amidst the backdrop of a funeral. The movie focused on the complex dynamics between Urvashi’s leelamma and Parvathy Thirovutu’s Anju. Anju is married to Leelamma’s son Thomaskutty but is still in touch with her lover Rajeev (Arjun Radhakrishnan). They are having an affair behind Leelamma’s back. Things take a drastic turn with the death of Thomaskutty. Upon the death of Thomaskutty Anju finds out that she is pregnant with Rajeev’s child leading to a complex chain of events.

The best part of Ullozhukku were the flawed human characters. Through these flawed characters Christo Tomy touched upon the themes of grief, desire, honor, and freedom among others. The layered characterizations of both Urvasi and Parvathy also enhanced the drama. Traditionalists would have a tough time in digesting Anju’s serious relationship with her boyfriend while being a married woman however Christo Tomy did a wonderful job in etching out Anju’s love. At one point she even tries to elope with her boyfriend while Leelamma’s family is still grieving. On the surface her actions will come across as selfish but at the same time viewers also understand her desperation. Even Urvasi’s Leelamma comes with her own weaknesses. She has abundant love towards Anju at the same time she is unable to see the struggles of her daughter in law. The movie also subtly touched upon the theme of class divide in the scenes where Leelamma vents out her anger.

4 Bramayugam

Rahul Sadhasivan’s Bramayugam was an engaging period horror movie with elements of fantasy, folklore and religion. The movie’s timeline is 17th century Kerala. A Dalit singer Thevan (Arjun Ashokan) loses his way in the forest and comes across a dilapidated mansion, in this dilapidated mansion only two people stay. One is Kodumon Poti (Mammootty) and the cook played by Siddarth Bharatan.

Bramayugam lacks the overall compactness of Rahul Sadhasivan’s earlier movie Bhoothakaalam, however Bramayugam is still very much worth a watch particularly the portions where the movie gets into a political zone. How the desire for power is extremely dangerous came out brilliantly in the form of some impactful dialogues. The black and white cinematography of Shehnad Jalal perfectly enhanced the horror elements. As the enigmatic Kodumon Poti Mammootty once again showcased a different facet of him with his impactful act.

5 Aavesham

Aavesham directed by Jithu Madhavan was an thoroughly entertaining ride with its goof ball characters and a fabulous Fahadh Faasil. The movie focused on a group of freshers wanting to take revenge on seniors. A chance meeting with Fahadh Faasil’s Ranga leads to a dramatic change in their lives.

A strong aspect of Aavesham were the interactions of Ranga with the three college students. How Ranga delivers a bond with the three showcasing a different side was both well written and enacted. The movie also benefitted immensely from the quirky characterization of Fahadh coupled with his delicious performance.

Now to the best of Tamil movies in 2024

1 and 2 Maharaja and Viduthalai 2

Maharaja directed and written by Nithilan Swaminathan on surface is a standard revenge story elevated by the non- linear storytelling and the intricate world building. In the beginning portions Vijay Sethupati’s character is seen filling a case about a missing dustbin. The cops headed by Natajaran take him for a crazy guy throwing him out of the police station but Vijay Sethupati’s character doesn’t budge eventually forcing the police to take up the case. This is the story in brief. A strong aspect of Maharaja are its police station scenes bordering on ridiculousness. The earnestness with which Vijay Sethupati repeats the story about the missing dustbin is both amusing and moving at the same time. While the investigation is going on a new character is introduced parallelly. Anurag Kashyap played the role of Selvam a loving father to his daughter Ammu with an unknown dark side to the wife. Nithilan Swaminathan did a wonderful job in connecting the dots and how Selvam is connected to the protagonist’s life. The police characters were also written well, they start off as a bunch of opportunistic cops but end up developing a conscience. The movie also deserves appreciation for how it portrayed a rape survivor. There is a very significant portion in the pre- climax where the rape survivor confronts her attacker telling in very clear terms on how she isn’t going to live with shame. Apart from Vijay Sethupati’s powerful act Anurag Kashyap also shined with an impactful performance. A particular mention must be made of his act in a crucial break down scene.

Viduthalai 2 directed by Vetrimaaran was a powerful conclusion with themes of oppression, the division of human beings on the basis of caste and the need to question the flaws in the system. The movie takes the viewers back to the times of monstrous zamindars and the struggles of peasants. The movie also touched upon the origin of communism. On more than one occasion the movie feels like a lecture with an overload of dialogues, still it is a must watch for those like Vetrimaaran’s storytelling. A major highlight of Viduthalai 2 was the origin story, a normal school teacher Perumal aka Vaathiyar transforming into a school crusader brilliantly portrayed by Vijay Sethupati. Soori this time around was mostly relegated to the sidelines, nevertheless he did make his presence amply felt.

3 Amaran

Rajkumar Periyaswamy’s Amaran ticks all the boxes of a traditional war drama. As viewers you know where the proceedings are headed, still the tight writing coupled with the performances made it an engaging watch. At its core Amaran is a love story. The life of Major Mukund is told from the perspective of his wife Indu Rebecca Varghese (an excellent Sai Pallavi). Rajkumar Periyaswamy did a very fine job in showcasing the various stages of their relationship making the viewers wish that the real life story panned out differently.

The director’s portrayal of Kashmir’s political insurgency had its share of problems still the numerous battles of CRPF were well documented. Sivakarthikeyan sprung a very pleasant surprise with his outstanding portrayal perfectly capturing the various shades of Mukund. Sai Pallavi’s character is mostly one note still she brought in a lot of emotional depth.

4 Meiyazhagan

C Prem Kumar’s Meiyazhagan was a heartwarming movie about self discovery and the importance of moving on. The core plot of Meiyazhagan was about the main character’s inability in remembering the name of other person. Arvind Swamy was seen as Satyam. Satyam was forced to leave both his house and hometown due to a family dispute. After many years he comes back to his native village for an important family wedding. Satyam bumps into Karthi’s Sundaram. Sundaram treats Satyam with lot of affection but the latter has no memory of how Sundaram is related to him. This is the story in brief.

Meiyazhagan had a slow beginning but picked up huge momentum with the entry of Karthi. Karthi raised many chuckles with his witty dialogues proving to be a perfect catalyst. He did a very fine job in embodying the idealistic and selfless nature of Sundaram. A particular mention must be made of the scenes where Satyam tries hard to recollect the name and puts up act of remembering him. A lot of situational humor is generated through this. Aravind Swamy as the brooding Satyam proved to be the perfect antithesis. He did a very fine job in portraying Satyam’s trauma making the viewers feel his pain. The characters of the greedy relatives is strictly one note still through this subplot C Prem Kumar gave an important message about forgiving people and in the process overcoming bitterness

5 Kottukaali

PS Vinothraj’s Kottukaali was a powerful movie on rebellion through silences. Backed by Sivakarthikeyan the film focused on the themes of caste, patriarchy and tradition. The story primarily focused on Anna Ben’s Meena and Soori’s Pandi. Meena is apparently possessed by a dangerous spirit. So the families of Meena and Pandi take her first to a local goddess and then a local seer.

The best part of Kottukkaali was the use of visual metaphors. For example there is a scene where the men have to carry an auto rickshaw on their shoulders with Meena still inside. The act of Meena refusing to come out can be interpretated as her way of rebellion.

Similarly the latter portion also features a hugely volatile scene when Meena quietly hums the song ‘Othyadi Padhaiyila’, playing in the background of a puberty ceremony. Pandi gets into a huge frenzy as the tune reminds him of her lover. He starts thrashing everyone around but Meena doesn’t say a single word.

The cinematography of B Shaktivel was also top notch. He perfectly captured the rustic surroundings. Both Anna Ben and Soori did a fantastic job in their respective characters. Anna Ben mostly conveyed the myriad emotions through her body language. Soori on the other hand invoked terror whenever he appears on screen this in spite of the hoarse voice. The one slight flaw of Kottukkaali was the ending which needed more cohesiveness.

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Best of Tollywood movies 2024: A strong year for small and moderate budget movies

An overview into some of the most impactful Telugu movies both in theatres and OTT.

The year 2024 has mostly belonged to stories with interesting storylines rather than the big star vehicles. A very good example of this is Venky Atluri’s Lucky Baskhar.

Venky Atluri started as a romantic director with the likes of Varun Tej’s Tholi Prema (2018) and Nithin’s Rang De (2021). But Dhanush’s Vaathi (2023) marked a significant shift in his career.

With Lucky Baskhar the director pushed the envelope further with the financial thriller/drama. The tight writing coupled with Dulquer Salmaan’s fantastic act made it a major winner.

Prashanth Varma’s Hanu-Man starring young hero Teja Sajja like the film’s storyline was an underdog movie with fewer expectations. The film clashed with big star vehicles but it ended up being hugely profitable for everyone concerned. Hanu-Man is a perfect example of how sometimes an engaging script can transform an actor into a star.

35 Chinna Katha Kadu directed by Nanda Kishore Emani and presented by Rana Dagubbati also deserves a special mention. It was a small movie with a big heart.

Among the big-scale action films, Naga Ashwin’s Kalki 2898 AD managed to sail through mainly because of two aspects. The first one is the merging of a dystopian world with the events of Mahabharata, second, is Amitabh Bachchan’s towering act as Ashwatthama.

Sukumar’s Pushpa 2: The Rise on the other hand rode majorly on Allu Arjun’s histrionics and some well-crafted moments. A major highlight is Allu Arjun’s dance in a saree during a very moving jathara sequence, the film has seen extremely polarizing reviews still the movie managed to make big numbers.

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

Lucky Baskhar

A still from the film Lucky Baskhar
A still from the film ‘Lucky Baskhar’. (X)

Lucky Baskhar directed by Venky Atluri is a refreshingly different story for mainstream Telugu cinema. The theme of financial crimes in the backdrop of a bank is an extremely challenging subject given the intricate details. But Venky Atluri made sure that the movie didn’t become overly complicated.

The functioning of stock markets and the banking system was handled in such a way that even a layman could understand.

What also worked majorly for Lucky Baskhar was the layered characterization of the central character coupled with Dulquer Salmaan’s brilliant performance.

The journey of Baskhar from an honest employee to becoming a scamster and the subsequent changes took the viewers on a roller coaster ride. Apart from Dulqer’s solid act the film also had some impactful dialogues particularly the ones related to success, failure and greed.

35 Chinna Katha Kadu

Nivetha Thomas in 35 Chinna Katha Kadhu
Nivetha Thomas in ’35 Chinna Katha Kadhu’. (X)

35 Chinna Katha Kadu was a much-needed slice of drama amidst the ultra-masculine heroes. Director Nanda Kishore Emani created an authentic atmosphere whether it was the school portions or the husband and wife relationship going through many ups and downs.

The film made some pertinent points on the necessity of encouraging a child’s curiosity. The second half of 35 Chinna Katha Kadu was more engaging.

The portions of Nivetha Thomas Sarswati battling her own demons while making sure that her son gets passing marks in mathematics had many heart-warming moments. Nivetha Thomas delivered a breakthrough act getting into the skin of a traditional housewife who has to rise against all odds. Newcomer Vishwadev Rachkonda also shined bright.

Priyadarshi as the snooty teacher Chanakya does border on being a caricature but in the context of the story it completely works. Priyadarshi was majorly successful in making the audience hate him.

In spite of the slow pace and predictable scenarios, it was a heartwarming film exploring how parents and educators should explain concepts in an interesting manner rather than dismissing a child’s curiosity.

Hanu-Man

Teja Sajja in Hanu-Man
Teja Sajja in ‘Hanu-Man’. (X)

On the surface Hanu- Man is a typical good versus evil plot but what made the movie work was the perfect amalgamation of devotional, superhero and pop culture elements. The character graph of Teja Sajja’s Hanumanthu was another big plus for the movie.

He goes from being a carefree guy to eventually realising his powers and most importantly using them for the greater good, this was wonderfully written and enacted.

Apart from Teja Sajja Varalakshmi Sarathkumar as the strong elder sister also had a pivotal role, the brother and sister bond gave the movie an emotional gravitas.

Varalakshmi Sarathkumar also got her own delightful mass moment. The film’s budget is nowhere close to the likes of Adipurush but the special effects were far superior.

Saripodhaa Sanivaaram

Nani in Saripodhaa Sanivaaram
Nani in ‘Saripodhaa Sanivaaram’. (X)

Vivek Athreya’s Saripodhaa Sanivaaram was a quirky tale of two hot-headed men, presented in a commercial format. In many ways, the movie was a modern update of Salim-Javed’s Angry Young Man. What made the film engaging was the strong characterization of both the hero and the villain.

Vivek Athreya also added interesting quirks to the characters of both Nani and SJ Suryah. SJ Suryah’s character, for instance, had shades of sarcastic humour, where he could switch from being serious to jovial in the blink of an eye.

Nani’s character, on the other hand, is someone who suppresses his anger until Saturday, only unleashing it when he feels it is truly justified. These nuances added depth to the characters, and both Nani and SJ Suryah delivered impactful performances.

The dynamics between Nani and his father, played by Sai Kumar, were also a delight to watch. Their scenes were filled with numerous laugh-out-loud moments, while also showcasing warmth.

Ambajipeta Marriage Band

Suhas and Shivani Nagaram play the lead roles in Ambajipeta Marriage Band
Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)

Suhas and Shivani Nagaram play the lead roles in ‘Ambajipeta Marriage Band’. (X)

Dushyant Kathikeni’s Ambajipeta Marriage Band carries a strong influence from Pa Ranjith and Vetrimaaran’s rustic Tamil dramas; nevertheless, the movie remains an engaging watch.

The story of Ambajipeta Marriage Band primarily revolves around the lives of a brother and sister. Suhas plays a barber, while Sharanya Pradeep portrays a government school teacher. The first half shows Suhas in his usual role as an underdog, while in the second half, his aggressive avatar takes the viewers by surprise.

Suhas was particularly impressive in these later portions. Sharanya Pradeep also made a significant impact with her fierce performance in the film.

Tillu Square

Siddhu Jonnalagadda delivered a blockbuster with Tillu Square
Siddhu Jonnalagadda delivered a blockbuster with ‘Tillu Square’. (X)

Siddhu Jonnalagadda’s follow-up to the 2022 popular film DJ Tillu was an entertaining comic thriller. The movie pretty much follows the same template as its predecessor.

A young man getting caught in a fresh tangle leading to various twists and turns, Anupama Parameshwaran played a morally dubious woman called Lily. The character of Lilly starts off as an innocent young woman but as the movie progresses the viewers get to see a different shade of her.

A major strength of Tillu Square was its fun-filled dialogues majorly enhanced by Siddhu Jonnalagadda’s wonderful comic timing. The actor’s energetic persona coupled with his specific style of speaking thoroughly entertained the viewers.

Anupama Parameshwaran was not only sensuous successfully breaking away from her girl-next-door image, but she also did a fine job in portraying Lilly’s grey shades.

Bhamakalapam 2 (AHA)

A still from the film Bhamakalapam 2
A still from the film ‘Bhamakalapam 2’. (X)

Bhamakalapam 2 directed by Abhimanyu Tadimeti was a delicious sequel with an in-form Priyamani. The fresh adventures of Priyamani’s Anupama kept the viewers thoroughly entertained.

The jugulbandi between Priyamani and Sharanya Pradeep playing Anupama’s business partner was a major highlight of the sequel too.

The scenes between them often left the viewers in splits. A particular mention must be made of the portions where the cooking competition and heist take place simultaneously. These scenes have both tension and situational humour in equal measure.

In spite of some lags in the pre-climax, director Abhimanyu Tadimeti did a fine job in setting up a good base for the 3rd part.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/best-of-tollywood-movies-2024-a-strong-year-for-small-and-moderate-budget-movies/

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Horror to humour: Best Bollywood films of 2024

While horror films ruled the box office, there were other films that made an impact irrespective of their box office numbers like ‘Laapataa Ladies’, ‘Srikanth’, ‘Chandu Champion’, ‘CTRL’, ‘Kill’, ‘Amar Singh Chamkila’, ‘Crew’ and ‘Jigra’.

The year 2024 has seen a significant shift in terms of viewer choice. Tenth-pole action movies with macho men at the centre predominantly dominated 2023.

This year though there has been a clear fatigue towards the action genre. The horror space has given exciting storylines with sufficient thrills and a good dose of humour.

One of the major production houses Maddock Films scored a double whammy this year with Stree 2 and Munjya. Both these movies featured grotesque demons representing sinister thoughts.

In Stree 2 the headless demon kidnaps women with a modern outlook representing our sexist leaders. In the case of Munjya a young Brahmin boy resorts to black magic to win over a girl but this only results in self-destruction. Stree 2 and Munjya had impactful social commentary apart from the folklore touch.

Another film of the same genre is Anees Bazmee’s Bhool Bhulaiyaa 3, a horror thriller/comedy with an important message on inclusivity and acceptance. A poignant flashback connected to homosexuality made Bhool Bhulaiyaa 3 a notch above the second part.

Queen director Vikas Bahl also made a strong comeback this year with Shaitaan, a home invasion thriller with elements of horror.

While horror films ruled the box office, there were other films that made an impact irrespective of their box office numbers like Laapataa Ladies, Srikanth, Chandu Champion, CTRL, Kill, Amar Singh Chamkila, Crew and Jigra.

Following are some of the most impactful movies of this year.

Laapataa Ladies

A still from the film Laapataa Ladies
A still from the film ‘Laapataa Ladies’. (X)

Kiran Rao’s second directorial venture, Laapataa Ladies, is a well-crafted feminist tale that effectively uses humour to address serious issues. The absurd scenarios arising from the confusion surrounding the same ghoonghat have a Shakespearean touch.

The film tackles important themes such as the necessity of education, the burdensome customs imposed on women, and the need for self-reliance. The latter is explored through the character of Manju Maai, a feisty and independent older woman played delightfully by Chhaya Kadam.

A major highlight of Laapataa Ladies is Ravi Kishan’s incredible comic timing. As a bribe-loving cop with a conscience, he left a strong impact with his performance. Newcomers Nitanshi Goel, Pratibha Rana, and Sparsh Srivastava were also a joy to watch.

Stree 2

A poster of the film Stree 2
A poster of the film ‘Stree 2’. (X)

Aamir Kaushik’s follow-up to Stree (2018) was a rollicking sequel filled with equal parts scares and laughs. The film also featured impactful social commentary through the character of Sarkate, a headless demon. This grotesque creature kidnaps women with a modern outlook, such as those with big dreams or who marry outside their caste. Sarkate had previously burned Stree and her lover alive.

A key moment in the movie shows all the men in Chanderi becoming alpha males due to Sarkate’s spell. In the pre-climax, the women of Chanderi break out in unison, fully aware of the dangers.

What also made Stree 2 a blockbuster sequel was the camaraderie between Rajkummar Rao, Abhishek Banerjee, Aaparshakti Khurrana, and Pankaj Tripathi. Their comic timing and chemistry added depth to the film.

Apart from Stree 2, Rajkummar Rao had a remarkable year, showcasing his versatility in various roles. In Srikanth Bolla, he portrayed the visually impaired businessman with an exceptional performance, perfectly capturing the character’s mannerisms and insecurities.

In Mr and Mrs Mahi, he played Mahendra, a failed cricketer who manipulates his wife for fame. Despite Mahendra being selfish and unlikeable, Rajkummar’s layered performance made him impossible to fully hate. The film performed moderately at the box office.

Chandu Champion

Kartik Aaryan in Chandu Champion
Kartik Aaryan in ‘Chandu Champion’. (X)

Kabir Khan’s Chandu Champion took viewers on an emotional rollercoaster. Based on an incredible real-life story, the film is a must-watch tale of grit and determination.

Beyond being an underdog story, the movie addressed important themes, such as how people with disabilities seek empathy, not sympathy. It critiqued the “Bechara syndrome” and highlighted how their efforts often go unrecognized.

In the title role, Kartik Aaryan delivered a career-defining performance. Along with his impressive physical transformation, he shone in scenes portraying helplessness, frustration, resilience, and grit.

Despite sharing screen space with a strong actor like Vijay Raaz, Kartik held his own. Vijay Raaz, playing the coach and father figure, added significant emotional depth to the film.

Kartik also impressed in Bhool Bhulaiyaa 3, where he entertained as the fake Baba Rooh Baba, leaving viewers in fits of laughter. He also delivered a heartfelt performance in a small double role.

Kill

A still from the film Kill
A still from the film ‘Kill’. (X)

Nikhil Nagesh Bhatt’s Kill was a thrilling ride in spite of its visceral action. He elevated a standard action plot by merging the issue of class divide and blurring the lines between what we consider a hero and an anti-hero.

The humanization of dacoits particularly in the second half was very well done. On more than one occasion the armed robbers are seen venting out their vulnerabilities and fears.

The action sequences by nature are very violent with the titular character Amrit (a mighty impressive Lakshya) coming across as a bigger monster than the real armed robbers.

However, stunt directors Parvez Sheikh and Se-Yeong came up with very innovative combat sequences in confined spaces. Raghav Juyal best known for his dancing skills surprised one and all with his act of a cold-blooded villain.

CTRL (Netflix)

Ananya Pandey in CRTL
Ananya Pandey in ‘CRTL’. (X)

Vikramaditya Motwane’s CTRL, streaming on Netflix, is an engaging thriller/drama that explores the dangers of AI, including deepfakes and personal data breaches. The film raises important questions about how Gen Z increasingly relies on internet bots for genuine advice rather than consulting real people.

Ananya Panday plays the central role of Nella, a social media influencer. She and her husband, Joy (Vihaan Samrat), run a YouTube channel called NJoy. Their seemingly perfect relationship unravels, leading to a disturbing chain of events.

A key aspect of CTRL is how Motwane makes viewers reflect on the desire for validation through social media and the fine line between sharing and oversharing. These questions are raised in a thoughtful, non-preachy manner.

Ananya Panday delivers a stellar performance as Nella, perfectly capturing the character’s various shades. Special mention must also be made of Aaparshakti Khurrana, who voices the AI, adding depth to the story.

Do Patti (Netflix)

Kriti Sanon in Do Patti
Kriti Sanon in ‘Do Patti’. (X)

Shashanka Chaturvedi’s Do Patti shares some similarities with Jasmeet K Rheen’s Darlings, as both films depict women taking control of their lives when everything seems to have hit a dead end. However, Do Patti is very much its own story.

In addition to tackling domestic abuse, this Netflix film also explores sibling rivalry, post-traumatic stress, and childhood trauma. Kudos to Kriti Sanon for choosing to back such a project for her first production venture.

Kriti is outstanding, particularly in her role as the jealous twin, who eventually becomes a strong ally to her demure sister. Shaheer Sheikh, as the unpredictable husband, also gave a strong performance.

Jigra

Alia Bhatt in Jigra
Alia Bhatt in ‘Jigra’. (X)

Vasan Bala’s Jigra is a perfect blend of emotional drama and a prison break story. The film combines two distinct elements: on one hand, it tells the gritty tale of a young woman shaped by the emotional turmoil of witnessing her father jump from the roof. On the other, it explores themes of class divide and the brutalities faced by the common man in a police state.

The class divide is starkly portrayed through the way Satya’s wealthy relatives make her brother a scapegoat to protect their son, despite him being a habitual drug offender. Jigra is, for the most part, an engrossing film, and it was further enhanced by Alia Bhatt’s perfect portrayal of Satya’s tigress-like nature.

Vedang Raina, as the naïve young man caught in a complex web, also gave a strong performance. In supporting roles, both Manoj Pahwa and Rahul Ravindran made their presence strongly felt. The film features many memorable scenes, including one where Alia Bhatt’s Satya devours a large amount of food to calm her nerves.

Another impactful scene occurs when a helpless Satya asks a prison security guard if she looks sad. When he says yes, she tries to smile and asks the same question again. The sorrow in her eyes, as she struggles to stay mentally strong for her brother, was beautifully written and enacted.

The Buckingham Murders

Kareena Kapoor in The Buckingham Murders
Kareena Kapoor in ‘The Buckingham Murders’. (X)

Hansal Mehta’s The Buckingham Murders is a perfect example of a slow-burn investigative drama. While it may appear to be a police procedural on the surface, the film also delves into the lives of immigrants, communal hatred, and the struggles faced by the Queer community, among other themes.

Kareena Kapoor delivers an outstanding performance as a detective sergeant, grappling with deep emotional turmoil while investigating the case of a missing child.

In addition to these themes, Hansal Mehta also did an excellent job of addressing the changes brought about by the pandemic., both positive and negative. The film offers valuable psychological insight into the shortcomings of society. While the narrative occasionally digresses from the investigation, the conclusion more than makes up for these moments.

Apart from The Buckingham Murders, Kareena also played a hustler who is unapologetically greedy in Crew. 

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/horror-to-humour-best-bollywood-films-of-2024/