The Filmmaker's Vision

January 18, 2025

by Inakshi Chandra-Mohanty

1. Laapataa Ladies

In Laapataa Ladies, a simple family from a small village is jostled into a state of confusion after their new bride is accidentally swapped with another. India’s official entry for the Best International Feature Film at the 97th Academy Awards and Kiran Rao’s second directorial venture, thirteen years after her acclaimed debut, Dhobi Ghat, is the most heartwarming Indian film of the year. With a host of positive characters, light-hearted banter, engaging drama, and feminist undertones, the film captures a utopian version of middle-class, rural India that is appealing to the dreamer within all of us.

The story follows the journey of both women simultaneously as they are thrust into an environment outside their comfort zone. Fresh faces, Nitanshi Goel and Pratibha Ranta, do a splendid job at highlighting the contrasting personalities and growth of their respective characters. But the heart of the film lies not just in these two brides. It is also in all the people around them, Deepak, Phool’s husband who becomes Jaya’s confidante, Manju Maai, a tea stall owner who pushes Phool to stand on her own feet, and all the other family members, police officer, station master, villagers, who were instrumental in their path towards freedom. Laapataa Ladies is a sensitive, emotional film that aims to restore our faith in humanity.

2. Do Aur Do Pyaar

Do Aur Do Pyaar is a brilliant portrayal of the messiness of modern day relationships. In this romantic drama, a couple in a stale marriage look for intimacy elsewhere until a passionate night reignites the spark between them and reminds them of the love they have lost. Directed by Shirsha Guha Thakurta and written by Suprotim Sengupta, Amrita Bagchi, and Eisha Chopra, this remake of 2017 Hollywood film, The Lovers, maintains a morally ambiguous perspective on infidelity. It’s a mature take on the impermanence of love, showing how loneliness and dissatisfaction can slowly turn a love marriage into a loveless one.

Apart from the stellar writing and direction, highlighting humanely flawed characters that are as fickle as any of us, the story’s relatability also hinges on the performances and chemistry between the lead actors. Vidya Balan and Pratik Gandhi exhibit a strong range of emotions with limited expressions, fully engrossing us in their muddled lives. They make the journey from a distanced long-term couple to a revived teenage romance believable. With their raw infectious energy and a thematic narrative on the complexities of the institution of marriage, Do Aur Do Pyaar is a delightful watch.

3. Merry Christmas

When one thinks of neo-noir thrillers in India, the first name that comes to mind is Sriram Raghavan. The film director has established himself as an auteur in the genre with works such as Andhadhun, Johnny Gaddar, Badlapur, and Ek Hasina Thi. Merry Christmas is the latest addition to this list. Based off a French novel Le Monte-Charge (Bird in a Cage), the story follows a tentative romance between two strangers on Christmas Eve that soon takes a dark turn involving a serious crime, manipulative individuals, and uncomfortable pasts.

Unlike his previous films that were filled with rapid movement, this plot unfolds in a slow but clever fashion. It focuses more on character development and emotional connection than on surprising twists and turns. In fact, some fans of the filmmaker may be disappointed if they expected content as exhilarating as his previous work. But if we take off our biased lenses and look at the film with a fresh perspective, we witness a masterful romantic thriller that exudes a passion like no other. From the unusual chemistry between the starkly different Katrina Kaif and Vijay Sethupathi, to the emphasis on a burden of empathy that forces people to make unfortunate decisions, to a convoluted arc of redemption, this is Raghavan’s most raw, emotional, and grounded film. Merry Christmas requires patience but the satisfaction we feel by the end is worth it.

4. Girls Will Be Girls

There are few Hindi coming of age dramas where female characters are at the forefront. Udaan, Dil Chahta Hai, Wake Up Sid, Lakshya, all feature young boys journeying towards maturity, and the one or two films that center on women, like Queen or Gippi, don’t veer deeply into female sexuality. Girls Will Be Girls is a refreshing change in this genre. In director Shuchi Talati’s debut feature film, a teenager dabbles in romance with a charming new student at boarding school while navigating a tense relationship with her mother. The story tackles the transition from girlhood to womanhood as Meera experiments outside her comfort zone, experiencing a sexual awakening in this conservative environment.

It’s a deeply personal film that resonates with all women who have once been young girls teetering on the brim between obedience and rebellion. The way the writing captures the transformation of the mother-daughter relationship as the daughter’s understanding of womanhood gives her a greater insight into her mother’s pains and struggles is remarkable. Girls Will Be Girls is an important watch for women, for daughters, for mothers, but also for men who have little understanding of the subtle pressures that plague young girls. The biggest irony is in the title itself. Boys often use the phrase ‘boys will be boys’ as an excuse, but the film shows that girls don’t have the liberty to rely on the similar ‘girls will be girls’.

5. Amar Singh Chamkila

Biopics have become a common sight in Indian cinema. With the typical character arc of birth, growth, obstacle, and triumph, this genre captures the lives of celebrated sports stars, artistic personalities, political dignitaries, and many other known figures. Despite their commercial success, these cliched films have little to no novelty remaining. The constant concerns of accuracy when converting reality to fiction also constrains filmmakers from experimenting and attempting something new within the genre. But Imtiaz Ali is not one to be restrained by boundaries. After a temporary career downfall in which he delivered a slew of subpar content, Ali makes a comeback with Amar Singh Chamkila, a refreshing biopic on the influential Punjabi musician of the same name.

Chamkila’s life may have been short lived, but it was eventful. In this non-linear narrative, the acclaimed writer director makes use of animated frames and visual dramatics backed by a powerful score, to highlight the character’s vivacious journey. We are immersed in an ethereal musical experience, which alone elevates it beyond the realms of a typical biopic. But thematically as well, the film is remarkable in the way it explores the political ramifications of his music. Neither does it place Chamkila on a pedestal, nor does it tear him apart for his controversial lyrics. Instead, it offers a multi-faceted perspective of his career in lieu of the socio-political climate of that time. Chamkila was a unique individual, in a unique world, at a unique time, and this biopic with its offbeat measures expresses just that.

6. Berlin

Berlin is a masterclass in storytelling. It’s a perfect example of how cinematic techniques and meticulous writing can be used to elevate a simple plot into a magnificent entertainer. This spy thriller, written and directed by Atul Sabharwal, follows a sign-language teacher who discovers a web of lies & deceit when he is appointed by the government to interrogate an accused deaf and mute spy on a confidential case.

Thematically, the film attempts nothing new with a focus on government unreliability and the struggles of a common man. The predictable revelations further expose the feeble foundation of the screenplay. However, the way sign language, flashbacks, shot composition and music are used to establish the mood is commendable. We are instantly transported into the murky world of politics, crime, and corruption in 90s Delhi. Technical elegance emphasizes the sullen atmosphere and the fantastic performances of Ishwak Singh, Aparshakti Khurrana, and Rahul Bose engross us in this otherwise basic plot. Berlin turns the mundane into the extraordinary, making it, undoubtably, one of the best films of the year.

7. Fairy Folk

Indie cinema is still seldom appreciated in India. With a strong commercial hub dominating, there is little room for small-budget, experimental cinema. Fairy Folk is one such film that traversed festival circuits and had a limited theatrical release but received little to no recognition from the public. It is so unknown that even streaming platforms are unwilling to give it space, prompting the makers to share it for free online with an at will donation. However, despite its obscurity, the film is one of the strongest of the year and deserves credit for the way it tackles themes of love, sexuality, and entitlement in a marriage. In this poignant drama, a couple finds the dynamics of their relationship shifting after a strange encounter with a mysterious being. This supernatural figure with no gender and queer transformational abilities permeates their lives forcing them to address uncomfortable attractions and growing distances.

Writer-director Karan Gour expertly blends fantasy and reality by grounding the weird, otherworldly occurrences with raw conversations. He emits authenticity in the interactions by using improvisation over written dialogue, which allows the actors, real-life couple Mukul Chadda and Rasika Dugal, more room to explore and build upon their characters and their reel romance. The magical elements only serve as metaphors for relevant issues that plague these individuals. At the core, Fairy Folk is a human story that deserves acknowledgement for its original premise, wacky plot development, and thought-provoking themes on modern relationships.

8. Kill

If brutal, gut-wrenching violence is not your cup of tea, then this film is not for you. Kill, the story of an army commando facing off against a team of bandits on a moving train, has been touted the most violent film made in India and relies heavily on its tantalizing gore to engage the audience. But it is far more than just that. It is an energetic hostage thriller, a middle ground between the survival drama, The Burning Train, and the serious real-life tragedy, Neerja, as well as a thematically relevant narrative that questions the basis of vengeance.

Instead of parroting the typical good vs. evil trope, writer-director Nikhil Nagesh Bhat blurs the lines between perpetrator and aggrieved. Stunning performances by debutante Laksh Lalwani as the commando and dancer/actor Raghuv Juyal as the psychopathic bandit animate the intense rivalry which begins on clear moral grounds but soon shifts towards an animalistic furor, prompting the audience to question whether violence is truly the answer. This powerful theme packaged within well-choreographed, chaotic action sequences and mind-numbing carnage is what differentiates Kill from the scores of action films out there.

9. Khel Khel Mein

It has been a while since a good, entertaining, ensemble Hindi film has graced the theaters. We have grown so accustomed to the average commercial affair that our expectations from any comedic film with a large cast is severely low. But Khel Khel Mein raises the bar once again. As the 28th remake of 2016 Italian film, Perfect Strangers, the story follows a group of friends that discover a plethora of secrets about one another while engaging in a playful game over the course of a night.

What could have easily become a routine, meaningless slapstick comedy ends up emerging as a sharp entertainer. Writer-director Mudassar Aziz, in his best work till date, seamlessly balances comedy and drama. Hilarious events are intermingled with meaningful conversations on marriage and relationships. Though many of the twists are predictable, the chemistry between this group of seven, whether it is the different situations of each couple, or the deep female friendships, or the brotherly affection between the elder men and the younger boys, draws us into this world where each character’s reaction to the secrets is far more exciting than the revelation itself. With witty humor, a smartly composed screenplay, and fabulous performances, Khel Khel Mein is a delightful watch.

10. Agni

Indian cinema is bereft of firefighter representation. While police, hospitals, army, and other emergency life-saving services are a regular part of our stories, fire safety is a rare sight. Hence, Agni’s premise itself makes it an anomaly. In this engaging action-drama, Vitthal, a fire chief investigates a series of unexplained fires while battling society’s flippancy towards his profession. He additionally navigates a contentious relationship with his acclaimed police officer brother-in-law, Samit, who is much more highly regarded by the public, including by Vitthal’s own son.

January 9, 2025

by Inakshi Chandra-Mohanty

1. Vaazhai

It is impossible to speak of the power of Vaazhai without revealing essential details, yet it will be a disservice to the audience to speak of the story without allowing everyone to experience it. Though it is not a suspenseful film, certain riveting elements and character arcs are best felt than described. This dramatic tale of a poor child laborer who oscillates between innocent play in school and the rugged nature of lugging work is both heartfelt and tragic. Sivanaindhan’s story emphasizes a fractured childhood, the burden of reality over aspirations, and a loss of innocence at far too young an age.

This film seems to be writer-director Mari Selvaraj’s most personal work as it contains fragments of his own childhood. His brilliant use of atmospheric elements, repetitive frames, and a larger than life musical score, makes us truly experience the tragedy of thousands of young boys around the country, who are burdened by similar circumstances. By the end of the film, with our guts wrenched and our hearts full, we count ourselves fortunate, that we never had to live such a painful childhood.

2. Kottukkaali

Kottukkaali, translated as The Adamant Girl, is about Meena, one such stubborn girl paraded across an obstacle ridden journey in an attempt to extinguish her love for a lower caste boy, or as her family members put it, the ‘evil spirit’ that has overtaken her body. This neo-realist film, directed by P.S. Vinotharaj of Koozhangal fame, doesn’t strive to make a point. Instead, it centers on introspection, using cinematic metaphors and character tropes to highlight regressive practices, female entrapment, and fragile masculinity. Whether it is Meena’s position reflected by a caged rooster, or a meandering bull the cowardly men are unable to drive away taken with ease by a little girl, or the gross invasiveness of an exorcism, there are many such thought-provoking moments.

The film’s purpose is to appeal to the audience. Rather than deliver a message itself, it allows us to make the decision of what path these characters will take, hoping that maybe the frustration of what we are witnessing, will convince us to take a step away from patriarchal norms. We are drawn into this uncomfortable environment with only one escape: our own sense of morality.

3. Lubber Pandhu

Cricket rivalry. Ego tussles. Intertwined romance. Intense drama. Lubber Pandhu is a complete package, an amalgamation of different genres, a thorough massy entertainer. Yet, it is so far removed from the typical content that emerges from Tamil mainstream cinema. It contains real characters, empathetic relationships, and a pinch of ridiculousness. The story follows Anbu and Gethu two cricket stars from different towns as they regularly engage in conflict to outmatch one another. This struggle is further complicated by their romantic involvements, ultimately forcing them to make choices that determine the value of family, love, and cricket in their lives.

Despite being a film centered around the fragility of the male ego, the strong women and their bond with the men are the greatest appeal. Yasodhai and Durga aren’t just typical love interests, they are the anchors for these hypermasculine men in their pursuit of success. That combined with the crackling chemistry and angsty passion these couples present on screen makes the film an enjoyable experience. The story also places a subtle emphasis on caste differences. It refrains from revolving primarily around discrimination, by showing that while Anbu’s caste has held him back, it is not his identity. We see Anbu as a human being, far before we are made aware that he is from a lower caste. With this slight social commentary amidst a plethora of fun characters, crisp comedy, lovable relationships, and obsessive competition, Lubber Pandhu will leave you with a satisfied smile on your face.

4. Maharaja

Storytelling is the hero in this ludicrous film about a barber attempting to retrieve his stolen dustbin. A seemingly wafer-thin plot morphs into a suspenseful, complex narrative, courtesy masterful writing and brilliant direction. Despite comprising of a few cliched tropes and predictable turns, Maharaja is a sharply executed action thriller that uses non-linear elements to repackage its typical content. The story is about far more than a man’s obsession with a decrepit object, but our ability to decipher this puzzle hinges on neatly placed visual clues and smart narrative progression.

Fresh off the heels of his debut Kurangu Bommai, writer-director Nithilan Saminthan again proves his expertise in manipulation. By creatively weaving together parallel tracks and multiple timelines, he takes the audience on a mind-boggling ride. But the manipulation isn’t just relegated to the plot. It is also present in the emotions. He gets us intensely invested in the titular character and his pursuit for justice even when we aren’t privy to the backstory, and Vijay Sethupathi’s stellar performance gives the character an additional genuineness that resonates with us. Overall, Maharaja is a delightful experience that shows how good storytelling can convert even the simplest of plots into an ingenious film.

5. Amaran

Unlike the majority of army-based biopics that foreground the main character’s journey through his actions and achievements, Amaran is about the person behind the uniform. The husband, the father, the son, the brother, the friend, the leader. Major Mukund Varadarajan isn’t just a national hero, he’s all these as well. Narrated from the perspective of his wife, Indu, this wholesome biopic regales his real-life story by showing us who he is in her eyes. It’s the Indian audiences’ favorite blend of patriotism and emotional drama, balancing his heroic encounters with the relatable, humane aspects of his character.

The most memorable moments in the film are not those where he conducts the intense operations he was hailed for, but those where he is his light-hearted pleasant self, smiling while listening to his daughter’s voice on the way to an attack, sleeping with his wife on a video call, sharing a comedic camaraderie with his army mates, or presenting his parents with a new home. Actor, Sivakarthikeyan, in one of his best performances, deserves credit for the ease with which he shifts between the serious, tough demeanor of Mukund – the squadron leader, and the caring smiles, soft voice of Mukund – the husband and father. Through all these empathetic moments, writer-director Rajkumar Periasamy does a terrific job weaving together an extremely personal story of love, hope, and triumph. For those of us that get exhausted by apathetic action sequences that army films typically rely on, this is a refreshing change. Amaran is truly a heartfelt ode to a national hero, who is first and foremost, a good human being.

6. Meiyazhgan

Just like C. Prem Kumar’s previous directorial venture, 96, Meiyazhagan has little plot development with a heavy reliance on the chemistry between the lead characters. The only difference, in 96 this bond is a teenage romance, and in Meiyzhagan it is a youthful bromance. The story follows Arul’s return to his hometown 22 years after he was forced to leave and his overnight interactions with a distant relative he fails to recognize. It is a heartwarming journey as Arul revisits forgotten memories and rediscovers his old self in this mysterious stranger.

January 5, 2025

by Inakshi Chandra-Mohanty

1. Bramayugam

A low-caste singer escaping persecution stumbles upon a desolate mansion containing mysterious secrets in this vintage horror drama. Shot entirely in black and white, to reflect the centuries old period and amplify the light/dark disparities, Bramayugam is a masterpiece in cinematic expression. Visual storytelling is at the heart of this film. The meticulous frames, brooding background score, and a menacing performance by Mammootty, build an ominous atmosphere. Like writer-director Rahul Sadasivan's previous supernatural thriller, Bhoothakalam, this film doesn’t rely on cliched horror elements and instead operates in a slow burn fashion, the dread, the terror gradually growing until we find ourselves trapped in the home’s existence.

But the horror in the film isn’t just the fear of the mystical elements that haunt this ancient home. It’s the horror of human evils, such as greed for power and caste/class discrimination. A mythical beast and frequent jump scares cannot combat the fear of an aristocratic lord with disdain for those below him. And it is in this blend of imaginary horror with real atrocities that Bramayugam scores.

2. Aattam

12 angry men…and a woman. This is an apt tagline for the acclaimed Malayalam psychological drama, Aattam, winner of best feature film at the 70th National Film Awards. In an amateur jury deliberation setup, a nod to the acclaimed Hollywood courtroom drama, the members of a theatre group convene in a debate after their sole actress is molested by one of the twelve men. The congregation comprises of a variety of different personalities from the un-believers to those seemingly concerned to the image prioritizing individuals. But one thing is common. All downplay the serious nature of the act and none of them are as they seem.

The film is both a whodunnit and a thought-provoking commentary. It builds suspense through slow reveals about each character as the day progresses, but also subtly portrays society’s ingrained patriarchy. It’s a perfect counter to those parading the tag of ‘Not All Men’. Most of these men aren’t openly misogynistic or dismissive, but their support is conditional. We see how perspectives shift and accusations amount in this stark representation of the hypocrisy of men that ultimately leaves women ally-less.

3. Ullozhukku

The saas-bahu relationship is one of the most negatively stereotyped in Indian media. Hence, it is always refreshing to see content that delves deeper into the fractured foundation of this bond, showing how deep-rooted patriarchal notions create complexities between women living in the same household. In Ullozhukku, Leelamma and Anju, mother-in-law and daughter-in-law, are forced to confront secrets that question the basis of their relationship as they attempt to bury a loved one amidst raging floods in Kerela. The title translating to ‘undercurrent’, represents both the watery atmosphere and the underlying feelings they are unable to express openly.

Relying heavily on powerhouse performances by Urvashi and Parvathy, writer-director Christo Tomy presents a poignant character study of two women stuck in a limbo between convention and rebellion. Through meticulous frames and nuanced conversation, he makes us privy to the pent up frustration and sadness within each woman that leisurely surfaces due to the external pressure of unfortunate circumstances. The release of these emotions translates into a journey towards freedom. Freedom from the roles they inhabit, freedom from society’s expectations, and freedom from the forced ties between them. As the facades lower, and communication increases, they develop a newfound bond of empathy, love, trust, and respect. Female characters are so rarely portrayed in such a layered fashion on screen. That combined with the unconventional take on a constantly cliched relationship, makes Ullozhukku one of the most impactful films to release this year.

4. Kishkindha Kaandam

A missing gun, a missing child, a newlywed couple, and a befuddled father-in-law, interlink in Kishkindha Kaandam, a mysterious psychological drama. Written by Bahul Ramesh and directed by Dinjith Ayyathan, this thoughtful, haunting exploration of guilt follows shifting family dynamics and uncomfortable revelations when an outsider enters an isolated household situated in the middle of a monkey-inhabited forest reserve area. Appu Pillai, Ajayan, and Aparna, the three central characters of this tale, represent the three wise monkeys, seeing and unseeing, hearing and unhearing, speaking and unspeaking, as troubling secrets pour out.

The film’s greatest strength is its genre bending capabilities. Within a thrilling atmosphere, it offers a heartwarming family drama. While the suspense and plot twists are exciting, it is the emotional depth of each character that creates an indelible mark. Our ability to empathize with these flawed human beings on many different levels is vital to the impact of the story’s reveals and leaves us with a wistful feeling long after. That’s why, the lesser you know going in the better. The characters are built so well that even a hint of their past or future actions will ruin the experience. I went into Kishkindha Kaandam blind and so should you.

5. Aavesham

When I saw ‘re-introducing Fahadh Faasil’ in the opening credits of Aavesham alongside all the new actor intros, I wondered how a seasoned, critically acclaimed actor like him could do anything remarkably different. But, by the end of the film, it became clear why the tag was there. And that tag is the sole reason that this film is amongst the best of the year. In this quirky action comedy, three students befriend a gangster to get revenge on their violent college seniors. The gangster, Ranga, brought to life by Fahadh Faasil, is an eccentric, invigorating character, that carries the entire film on his shoulders.

In this positive, entertaining ride, personality rules over story. The thin narrative has little depth to offer, but the exuberant characters and their gripping interactions overshadow the flaws. The trio of Aju, Bibi, and Shanthan are delightful to watch as they pursue their mission with a mixture of laughter, fear, and false bravado. But it is Ranga, with his silly antics, energetic aura, and memorable catchphrase ‘eda mone’, that becomes the life of the film. With an intricately woven backstory that seems more fiction than reality when his aids recount it, and his constant mood switches between friendly human and menacing gangster, Ranga is an intriguing individual. Aavesham shows that a strong plot is not always necessary to make a good movie. Sometimes it’s just the fun of watching unusual characters and their wacky histrionics. And in this case, it is Fahadh Faasil’s show from start to finish.

6. Paradise

One of the most important films to come out of the Malayalam industry this year is the politically charged, Paradise. With the 2022 Sri Lankan socio-economic crisis serving as a backdrop, the story follows a tourist couple, Kesav and Amritha, whose romantic getaway is cut short after an unexpected event escalates tensions between locals and the police. Written and directed by acclaimed Sri Lankan filmmaker/activist, Prasanna Vithanage, known for his issue-based cinema, the film authentically recreates the troubled environment and emotions engulfing the Sri Lankan citizens at that time, the local spirit adeptly represented through the trio of Mr. Andrew, Shree, and Iqbal, the couple’s hosts.

January 2, 2025

by Inakshi Chandra-Mohanty

1. Saripodhaa Sanivaaram

It’s interesting that in a year with some of the most unique films emerging from the Telugu industry, my number one film is a typical commercial action thriller. Maybe it’s the comfort of watching the usual heroics, simple romance, and good vs. evil themes, or maybe it’s to see Nani in a once in a while action role far removed from his chocolate boy, rom-com characters. Either way, Saripodhaa Sanivaaram, is by far the most entertaining Telugu film of the year. The story is about Surya, a man who resolves to fight and unleash his anger only one day of the week, leading to many hilarious encounters until he faces an evil nemesis that threatens those closest to him.

Like every other masala entertainer, it’s a blend of all genres. There is comedy in Surya’s unique fighting schedule. There is a crackling romance rehashing Priyanka Mohan and Nani’s chemistry from their previous venture, Gang Leader. There is suspense in the secrets and long-lost friendship. There is an energetic hero-villain enmity, boosted by S.J. Suryah’s psychopathic performance. And there are well-choreographed action sequences that keep our excitement alive through the end of the film. No other Indian film industry makes commercial action entertainers like the Telugu industry and Saripodhaa Sanivaaram proves it!

2. 35 Chinna Katha Kaadu

At the surface level, 35 Chinna Katha Kaadu, is the simple story of a boy who struggles to understand mathematics and a mother who is hell-bent on proving her child is not a failure. But, on a deeper level, it takes a look at the flaws in the Indian education system, one that values rote memorization over intellectual learning. Arun is an inquisitive child whose curiosity is stifled by traditional education. He is punished and ridiculed for asking questions rather than appreciated and supported. His peers, his teachers, and even his own father, don’t take him seriously. But his mother, Saraswati, a school dropout herself, takes up the mission of teaching him the concepts that baffle him using creative techniques. Their journey to escape an outdated learning culture forms the basis of this film.

The narrative prioritizes dramatic emotions, pulling at our heartstrings with the endearing mother-son bond, and emphasizing the sheer resilience of a mother to prove her son’s worth, while at the same time discovering her own. It’s as much a tale about the inquisitive childhood spirit as it is about the pertinence of respect. 35 Chinna Katha Kaadu is a sweet, wholesome, and uplifting expedition towards success.

3. Hanu-Man

In an industry known for its commercial action flicks, where even a common man can perform feats equivalent to the acts of a hero, making a good superhero film is extremely difficult. What is the need for a character with superpowers, when the typical Telegu action star with his superstrength and appealing style is already equivalent to a superhero? Writer-director Prasanth Varma dashes these myths with Hanu-Man, a film that not only presents a legitimate superhero but also delivers a cheeky commentary on the presence of larger than life protagonists in conventional Telugu cinema.

Inspired by Indian mythology and set in the fictional town of Anjanadri, this film is about a petty thief, Hanumantha, who stumbles upon an object that gives him the powers of Lord Hanuman, which he uses to protect his town from evil forces. Though the story follows the basic arc of a hero origin story with little innovation and blatant predictability, it must be admired for the way Indian traditions blend into the character and plot development supported by brilliant cinematography and visual effects. It is thoroughly unique from foreign “superhero/vigilante” content, emphasizing emotional depth and our rich culture. It is also worth noting that it is a first of its kind in this industry and the humongous success has opened doors for more content of a similar style.

4. Mathu Vadalara 2

In the last two decades, with films like Aithe, Anukokunda Oka Roju, Swamy Ra Ra, Karthikeya, Brochevarevarura, etc., Telugu cinema has seen a new age of indie action escapade content supported by experimental filmmakers. In 2018, one such talented debutante filmmaker, Ritesh Rana, contributed to this genre with the comedy caper Mathu Vadalara, introducing his ability to weave an unconventional, quirky narrative comprised of slick editing, surprising twists, and a plethora of red herrings. With Mathu Vadalara 2, he expands on the universe. In this entertaining sequel, the comical duo, Babu and Yesu, return upgraded from delivery boys to secret agents, but find themselves no more the wiser as they are once again caught in the middle of a conspiracy.

Unlike its predecessor, this film’s story and plot twists are not as exciting. But the fast-paced action, hilarious dialogues, crisp editing, and emotional connection developed with the characters, keep the energy alive. From the absurd scenarios these boys land in, to the constant parallels with a never-ending soap opera, Mathu Vadalara 2 can only be described as wild ridiculous madness.

5. Tillu Square

Twice the comedy, twice the adventure, twice the plot twists, and twice the seduction. Tillu Square, sequel to the wildly entertaining DJ Tillu, is twice the entertainment. A year after Tillu’s affair with Radhika involved him in a twisted crime-murder scenario, he again falls for an extremely attractive woman, Lilly, landing him in the midst of an even bigger scandal with connections to his past. This time, the magnitude is greater. It’s no longer a simple, local case, it’s now a matter of national security. It’s no longer small-time thugs and blackmailers making his life difficult, it is now agents and international criminals thrusting him into hell.

Like the prequel, this film has two main strengths: Tillu’s eccentric personality amped by his punchy one-liners, and the strong, sexy femme fatale that takes him for an unforgettable spin. The first is a product of Siddhu Jonnalagadda’s laidback performance and top-notch dialogue writing. The second is a combination of Anupama Parameswaran stepping miles outside her comfort zone in a never before seen avatar and the comic flair to her actions that makes even a disloyal character like Lilly, enjoyable to watch on screen. While the twists and turns are exciting, the film is not story heavy, and it is these character elements that give this otherwise typical comedy caper a unique flair.

6. Lucky Baskhar

Set in the midst of the 1992 Indian stock market scam, Lucky Baskhar faces the unusual predicament of succeeding the superhit series Scam 1992. After witnessing a detailed explanation on market manipulation by Harshad Mehta in the series, Baskhar’s frauds in the film seem oversimplified and juvenile. Hence, writer-director, Venky Atluri, chooses to not spend too much time on the plot. Instead, he focuses on the aspects of the film that would appeal to the emotions within the audience: character development, performances, and world building.

November 17, 2023

by Inakshi Chandra-Mohanty

In the 1970s, Amitabh Bachchan’s entry into Hindi cinema gave birth to the “Angry Young Man.” He was a hero, who fought against the system, who fought against injustice, and became a voice for the subdued people in society. It was one man against the world. Through the 80s, this phenomena continued, but as the new century neared, the romantic hero emerged and the action hero became an afterthought. People either no longer wished to change the system, or they no longer trusted a lone hero to do it. With the birth of a new generation, softer male leads became the norm with Shah Rukh Khan at the height of romantic stardom.

Though Hindi films let go of this concept, South Indian Cinema, continues to celebrate its heroes through films on injustice with a male lead as savior. So it is only natural that Atlee, a South Indian filmmaker, brings back to Hindi cinema the heroic mass entertainer, ironically starring the very actor who had originally taken away the limelight from the “angry young man” of the 70s and 80s. Jawan follows a man who strives for justice, who wishes to correct a system which favors those who are guilty over the many innocents, and for that, he resorts to vigilantism putting him in the crossfire of both the police and an evil arms dealer.

I did not have great expectations from Atlee. Though his films are entertaining, they have never risen to greatness, barring Raja Rani, which is the best of his work. However, he has great mass appeal and Jawan promises the same.The plot is intricately woven with an amalgamation of elements that tackle many relevant issues in society today. From farmer suicides to hospital inadequacies, by blending real stories into a fictional universe, writer-director Atlee appeals to the struggles of the common man and attempts to raise awareness regarding the flaws in the system that governs Indian society. Alongside important themes, the film’s strength lies in its strongly choreographed action sequences with women at the forefront. Shah Rukh Khan as the man of many names is the hero, but he is surrounded by powerful women fighting for themselves and for others. It is exciting, entertaining, and visually captivating with a thoroughly ‘massy’ feel.

However, my biggest issue with Jawan is the same problem I’ve had with Atlee films in the past, particularly Mersal and Bigil. They’re all over the place. The shift between present and past, the placement of flashbacks, too many characters, too many plot points, everything is a disjointed mess. There isn’t a singular arc keeping the story moving. In an attempt to create suspense, using non-linear storytelling, the makers sacrifice emotions. We begin to connect with a character, or get interested in a certain plot point, but a sudden shift in the story, leaves us hanging. By the time it returns, our emotions no longer remain the same.

Nevertheless, it is entertaining and much credit for that goes to the performances. Every single actor in the cast does a tremendous job: the army of six girls (Lehar Khan, Sanjeeta Bhattarchaya, Priyamani, Sanya Malhotra, Girja Oak, Aaliyah Qureishi), Deepika Padukone in a cameo appearance, Seeza Saroj Mehta as the little girl Suji, Sunil Grover, Ridhi Dogra, Eijaz Khan, and even all those in small bit roles. As for the central trio, anything I say in their praise would be less. Nayanthara is enigmatic and powerful as the law-abiding officer in search of who she believes to be a problematic vigilante. I am glad her stardom is finally extending beyond the borders of the south. Though Vijay Sethupathi has already made his mark on the Hindi audience through Farzi, it is through Jawan his versatility comes forth. I have seen so many actors struggle outside their comfort language, but he doesn’t let his difficulty with Hindi get in the way of his menacing performance. And last but not the least, is the star of the show, Shah Rukh Khan. Comedy, romance, drama, action, there is no genre in which he lacks and Jawan touches upon it all. Such a strong, versatile range of emotions is displayed through one character. This film is a reminder that Shah Rukh Khan’s stardom and aura are unmatched.

July 22, 2023

by Inakshi Chandra-Mohanty

Seven years back, we got a glimpse of the downtrodden state of Punjab through the film, Udta Punjab. The drugs, the violence, the chaos. It was a stark departure from the gorgeous pinds, ganne ke khet, and an overall romanticized version of Punjab we had grown accustomed to through the movies. We still see those sprawling fields in Kohrra, but now there is an ominous air over it, a fog of criminality that refuses to disappear. Netflix’s latest series is a crime thriller that follows two police officers, Balbir Singh (Suvinder Vicky) and Amarpal Garundi (Barun Sobti), as they attempt to solve the murder of a groom, just days prior to his wedding. Their personal and professional lives intertwine as the search for the culprit reveals much about the dismal state of society.

It is no surprise that one of the writers of Udta Punjab is a co-creator on this series. Sudip Sharma, also known for Amazon’s critically acclaimed show, Paatal Lok, has the knowledge and writing prowess to explore the gritty depths of Punjab. Along with director Randeep Jha, and co-writers, Gunjit Chopra and Diggi Sisodia, they create a universe that relies heavily on its atmosphere. From the Punjabi dialect spoken by the actors to the stark cinematography, they strive for authenticity.

Though it gets straight into the main plot, the crime being discovered within the first few minutes of the first episode, the story is slow to unravel. The exposition of the characters happens over the course of the series as each episode reveals a little more about their personal lives. The narrative is predictable. But, there is an unpredictability within that predictability. Many aspects of the mystery are easily guessed early on, but they are just loose threads. How these threads are woven together to form this murderous situation is the suspense we relish.

But what sets Kohrra apart, is the way it uses the mystery as background fodder for a poignant story of parental abuse and generational trauma. We see a whole generation of youngsters stifled due to the misplaced frustration of their elders. Happy suffers the inattention of his father, leading him down a treacherous path. Garundi is victim to the emotional blackmail of his brother and sister in law. Nimrat faces mental torture at the hands of her rigid father. Paul feels suppressed by the extreme beliefs of his father and as a result, Liam struggles due to Paul’s pain. The common thread here is the existence of parental figures who are insistent on imposing their beliefs from a generation of the past on their children of today. It is a bleak commentary on familial structures in modern society amid the chaotic crime scene in Punjab.

The brilliant writing along with the great performances bring these characters and themes to life. Suvinder Vicky and Barun Sobti do a commendable job leading the show. It’s remarkable to see how Barun Sobti imbibes this rustic Punjabi character, so different from any role he has portrayed thus far. This may be his fourth release of the year, but it’s definitely his best performance of them all. Suvinder Vicky is a revelation. Despite a career lasting almost two decades, with a few forays into Hindi entertainment, he is largely unknown to an Indian audience outside Punjab. This series has not only brought to light his nuanced acting, but has also catapulted him into belated stardom. While these two actors lead the way, it is the supporting cast that keeps the series afloat. Harleen Sethi is terrific in the role of Balbir’s disgruntled, angry and depressed daughter, Nimrat. Rachel Shelly beautifully portrays Clara’s agony of losing a son in a nation foreign to her. And there are many more actors that do a tremendous job bringing emotion and authenticity to their roles.

July 9, 2023

by Inakshi Chandra-Mohanty

1. The Mirror

The film begins with a wide shot of a city. Towering apartments, surrounded by sprawling slums. Progress, countered by underdevelopment. This starting frame is just one example of the brilliant visual imagery that director Konkona Sen Sharma uses to set the stage for the complex relationship that develops between a woman and her maid. The Mirror is about a woman who walks in on her maid having sex in her bedroom. Lust and desire take over as she finds herself turned on by this spectacle prompting her to establish a pattern of secretly watching her maid’s sexual endeavors. This film is about much more than just lust. It is about two women who discover a new side to their sexuality that transcends class and caste. It is as much about the difference between them as it is about the common ground they find through this surreptitious activity. The themes are relevant. The writing, direction, and cinematography, are immaculate. And combined with the amazing performances by Amruta Subhash and Tillotama Shome, this short film becomes the best part of the anthology.

2. Tilchatta

A woman in an abusive marriage aspires for a better future for her son as she struggles to escape her terrible fate. Directed by Amit Sharma of Badhaai Ho fame, this film is a tragic tale of manipulation, violence, and revenge, with lust at the center of it all. The best aspect of this film is the ominous atmosphere. The spacious haveli, its unspoken secrets, the many characters, and their dubious intentions. But in the process of building atmosphere, at times the plot suffers. The initial idea and the buildup are executed well, but the relevance of the conclusion is unclear. It is a depressing end to an already depressing story and serves little purpose beyond shock. However, despite the twisted ending, Tilchatta is impactful and serves as a great closure to the anthology.

3. Sex with the Ex

It is no surprise that this segment is directed by Sujoy Ghosh. Known for films like Kahaani, Badla, and Ahalya, Ghosh’s filmography is mainly comprised of films of a similar suspenseful genre. However, this horror thriller disguised as a lust story is the biggest misfit in this anthology. The story follows a man who encounters his ex after being stranded in a village due to a car accident. While lust is clearly a pertinent part of the film leading to a shocking climax, it is unfortunately hidden by other aspects of the film. The story is too absorbed in its mystery and suspense that lust barely makes an impact. It also does not help that the artificial background visuals, while purposeful, are extremely jarring. But despite the flaws and predictability, the plot development is intriguing. While not a perfect film, it kept my interest alive and is definitely worth a one time watch.

4. Made for Each Other

The weakest film of the lot is R Balki’s Made for Each Other which ironically starts the 2 hour long journey. What should have been an explosive beginning is instead a futile, ill-executed drama about a to-be married couple and their forays with ‘sex’ prior to their wedding. The concept itself, with its emphasis on the importance of sex in marriage, is interesting. However, there is no development of the plot, no arc to the characters, and an overall absence of conflict in the story. It remains bland and stagnant throughout. On top of that, the idea of an extremely progressive “Dadi” and her comical conversations with her granddaughter on sex, seems contrived and unrealistic. The advice that this short brings forth is useful, but unfortunately not impactful due to the lack of depth and conflict. It’s thirty minutes of time passing, nothing happening. And at the end of it all, I found myself asking, what was the point?

April 18, 2023

by Inakshi Chandra-Mohanty

“Yeh camera bade kamaal ki cheez hoti hai, Jai Babu. Usme se tu duniya ko voh dikha sakta hai jo tu dekhta hai, jise tu dikhana chahta hai.”

Cinema is a powerful medium. Consisting of many scattered images shaped into life by the vision of a director, films have the ability to leave a lasting impact on an audience. It is an opportunity for a director to show the world what their eyes see, tell a story they want to tell, even if possibly deceiving.

Jubilee explores the power of perception in this world of cinema. Set in the 1940s-50s, as the Indian independence struggle changes the lives of many, this web series follows multiple characters entrenched in the politics of the evolving film industry. There is Binod (Aparshakti Khurrana) with his ambitious, yet crooked journey towards becoming a star, Roy (Prosenjit Chatterjee) who is more concerned about the success of his production company than the dalliances of his wife, Jay (Sidhant Gupta) with his cinematic dreams and struggles to escape the refugee life, Niloufer (Wamiqa Gabbi), a former courtesan with acting aspirations, and Sumitra (Aditi Rao Hydari) on a path towards justice after she loses the love of her life and her only escape from this industry.

All of them struggle with this battle of images and perspective. Maintaining the image of the name they carry and the legacy they hope to leave versus the reality they live. And nothing is more indicative of that than their respective memories of Jamshed Khan (Nandish Sandhu). For some a talented actor, for others a star who could not be, a lover for some, an obstacle for others. Jamshed’s death in the first episode haunts each character in different ways and sets the stage for their journeys filled with greed, passion, ambition, and power.

This universe created by Vikramaditya Motwane is an ode to classic Indian cinema. From moments that pay homage to memorable scenes, to the episode titles which are names of old Indian films, the series is a delight for cinephiles. The beautiful visuals supported by an intriguing story and terrific acting only add to this cinematic delight. Sidhant Gupta is the breakout star of this series. While everyone has done a commendable job, he enamors as Jay Khanna, to the extent that I desired to see more of him even when he was not on screen. It isn’t easy to hold one’s ground and create a strong impact in the presence of such experienced and talented actors, but Sidhant Gupta manages to do that.

There are times when the show falters. The biggest weakness in an otherwise beautiful creation is the convoluted writing. At times it isn’t clear where the story is headed, and the time jumps are confusing. Where the show should have picked up pace in part 2, it instead stoops into self-misery. My interest in the characters wane as their actions no longer match the arc I had expected. Maybe it is the optimist in me that hopes for something positive. Or at least something bittersweet to make up for the tragic journey. But, ultimately it leads to an unsatisfactory ending.

However, the immersive storytelling distracts us from its flaws. We are so drawn into this world, into these performances, into the dramatic visuals and fantastic musical score, that a few faults in the narrative are no grave issue.

“Jo chup rehta hai lamba chalta hai.”

April 18, 2023

by Inakshi Chandra-Mohanty

The word ‘class’ is multifaceted. It stands for the hierarchal structure that separates the rich and the poor. But it is also indicative of the weakening of the cultural divide between those of different statuses as the disparate worlds merge in the same ‘class’. In the Netflix web series, Class, three students from lower-income families receive a chance to attend an exclusive school in Delhi and intermingle with those from higher status families leading to inevitable clashes, mystery, and death. These three misfits in a school of elitists navigate relationships and politics as they attempt to forge a place for themselves.

Directed by award winning documentary and indie filmmaker, Ashim Ahluwalia, this remake of popular Spanish show, Elite, sticks to the original storyline and character development. It has the same weak points as Elite. The mystery is not captivating enough, the dramatic development is superficial, and the twists do not lead to a satisfying conclusion. But, as someone who found the original average, I was pleasantly surprised by the detailed, intense world created in Class. For a show that promotes itself on the basis of glitz and glamour, it is surprisingly mild. The aesthetics are raw and real. It fully delves into the underbelly of Delhi and builds up the city as a character of its own. The production design and focus on differentiating the lives of those living in gorgeous bungalows from the ones living in slums is immaculate. This drastic change from the overdone glamorous aesthetics of Elite works in its favor. These characters and situations feel far more relatable.

There is also clear thought put into ‘Indianizing’ this foreign show. The themes are reoriented for the Indian audience. From mentions of caste and its influence on income disparity, to the emphasis on Muslim discrimination, the series highlights prominent issues in present-day Indian society.

While Class is definitely more interesting than Elite, the show isn’t without its flaws. The series consists of a relatively new cast and attempts to create an impact through these young, fresh faces. However, the immaturity of this younger cast is apparent. Many of the actors have a limited range, doing well in lighter scenes but unable to achieve the emotional impact necessary in dramatic moments. I wish they had cast a more effective person in the lead role. While a talented actor, Piyush Khati as Dheeraj does not have the charisma to carry the show. He gets overshadowed and lost in the crowd despite a majority of the show relying on his narration.

Zeyn Shaw as Veer is also disappointing. His limitations as an actor are apparent in comparison to Madhyama Segal’s sharp acting as his romantic interest Saba. From an intellectual perspective, Veer and Saba are the most intriguing couple and I will continue to be excited to see them in future seasons. But the butterfly inducing chemistry isn’t there. The Veer and Saba on paper does not translate to the screen.

November 27, 2022

by Inakshi Chandra-Mohanty

Many films have been made on the film industry. Films that show the intricacies of the process through the eyes of an artist integrated within it. But few have shed light on the tumultuous relationship between a filmmaker and a film critic. The two professions are constantly at loggerheads. It’s a never-ending battle due to the refusal of each to understand the job of the other. Chup uses a fictional tale of a serial killer that targets film critics to comment on the filmmaker-critic relation. This psychological thriller relies less on suspense and more on the interesting characters and passionate story that attempts to burn bridges between the opposing professions.

The strongest aspect of Chup is the intrigue. The buildup of how these four characters and two parallel stories will converge. And the way in which the contrasting elements of the multiple narratives lead to an exhilarating climax. This is further enhanced by its passion for the art of cinema. Writer-Director R. Balki made this film out of a pure love for the process of filmmaking. It is an ode to classic cinema with many references to the art behind old school romance. It specifically pays homage to Guru Dutt and his classic film, Kaagaz Ke Phool, and focuses on the relevance of that film in the filmmaker-critic debate.

Though the film is a multi-starrer, Dulquer Salmaan is the star of the show. Elaborating on the details of his performance would reveal too much of the mystery, but his ability to transfer between the different shades of his character is brilliant. While the remaining actors do well in their respective roles, much of the film’s impact rests on his shoulders.

Where Chup falters, is in its investigative suspense. While the police chase of this brutal criminal is smart, the characters pursuing the case have barely any background or emotional depth. Despite having considerable screen space, Sunny Deol has little to do in the film. Though he and Pooja Bhatt do well in the roles written, they have little impact due to the lack of characterization. Their characters are nothing more than props in the investigation.

Despite these minimal flaws, Chup stands out due to the themes it explores, albeit in a jumbled state.

It is natural for a filmmaker to feel disheartened on reading a scathing review. However, it is also important all types of reviews to exist. Otherwise, there will never be a standard for good cinema, filmmakers will be stuck in the land of mediocrity and no one will aspire for any better. 

As a filmmaker and a film critic, someone who has seen both the blood and sweat that goes into the simplest details in a scene and someone who has watched countless films forming strong opinions on them, this divide is something I have witnessed myself. This is a battle I am constantly fighting within. That is why Chup resonates so deeply with me. It is a confused film, one which mirrors my constant confusion between the two worlds. Chup is the product of an artist and a critic, one that cannot differentiate between the two. That’s why the messaging of Chup is so muddled. Because on one hand it puts out valid points in the defense of film criticism and on the other hand romanticizes the life of an artist engulfed by the world of cinema and pained by the words of critics. 

April 28, 2022

by Inakshi Chandra-Mohanty

From the comfort of a wealthy barrister’s family to the distressing confinement of a brothel, a young woman’s life is drastically transformed overnight. Her world is shattered and her naivety crushed as she struggles to grapple with her new reality. Dealing with scandalous labels and a lack of respect, she slowly rises in stature becoming a formidable force in the ‘gallis’ of Kamathipura. Gangubai Kathiawadi is a motivational narration of this young girl’s journey. It sheds a new light on the resilient women behind what is considered to be a ‘disgraceful’ profession. 

Sanjay Leela Bhansali has the ability to create a unique universe that sucks the audience into its extravagance. All his films are renowned for their grand visuals and this one is no exception. However, this is the first time his true expertise as a director and editor comes forth. His previous films showed off his attention to detail and love for marvelous universes but due to flimsy scripts these films were never able to rise above the beauty. In Gangubai Kathiawadi, the strongest aspect is the script. The film relies on character development, and creates a host of identifiable characters, with Gangu at the forefront. The visuals serve as a means to support the emotionally-driven narrative. From the set design that transported us into this fantastical world, to the melodious soundtrack that enchanted us, to the metaphorical editing that made us aware of Gangu’s plight. Our emotions are tethered to the narrative due to the brilliance in filmmaking. 

The only weak element of this film is the romantic angle. Gangu’s relationship with Afshaan serves only one purpose, to elevate the two beautiful musical tracks picturized on them. The passionate chemistry they share is delightful to witness but barely meaningful. The tragic, painful aspect of a prostitute falling in love is never explored, and their bond remains at the surface level. This is the sole failing of an otherwise immaculate script. 

Despite the weakness of the love story, film debutante Shantanu Maheshwari does an amazing job in the role of Afshaan. As a dancer, his movements are lyrical and make the romantic sequences even more enchanting. Other standout supporting performances include Seema Pahwa as the ruthless brothel owner, Sheela Mausi, and Indira Tiwari as Kamli, Gangu’s closest friend and confidante. Both of them fully lose themselves in the lives of the women they are portraying thus creating characters that are extremely memorable. While the supporting actors are brilliant, the weight of the film rests on Alia Bhatt’s shoulders. As the primal character that drives the narrative, Gangu is no easy character to portray. Alia Bhatt has time and again proved her prowess as an actress, and this is one more phenomenal performance by her. 

April 12, 2022

by Inakshi Chandra-Mohanty

1. Drive My Car

Despite being in a language I don’t understand and set in a culture I know little about, this film felt the most personal out of all the nominations. It’s an engrossing tale of a man struggling with grief and forgiveness. Through his interactions with the various people around him and his deep involvement in the play he’s directing, he gains a different perspective to life. Of those, the most unconventional relationship he forms, is with his driver, as they bond over their respective griefs. Though there is nothing exceptional about the storyline, Drive My Car excels due to the deeply etched out characters and the emotion driven scenes. The film builds an experience revolving around the world of the main character whose grief is personally captivating. His screen presence and the growth in his character are endearing. The film also consists of beautifully framed shots that it even more profound. Overall, it is an enjoyable and powerful film that I will love watching again.

2. CODA

The film that won the title of best picture is the one of the most deserving. A remake of French-Belgian film, La Famille Bélier, with story elements similar to Sanjay Leela Bhansali’s classic Hindi film, Khamoshi: The Musical, CODA follows a child of deaf parents who wishes to pursue a career in music. It is an engaging storyline, with strong buildup, and emotionally intimate characters. We are drawn into the main character’s struggles with her identity and at the same time enlightened about the deaf community. It is an overall package with a combination of drama, comedy, and romance, behind a powerful journey.

3. West Side Story

When a classic is remade it struggles to live up to the original and endless comparisons cause it to lose significance. However, as someone who has not seen the original film adaptation or theatre play, and has little knowledge of the plot, I was able to view this film with a fresh outlook. West Side Story is a ridiculously outdated story of love at first sight but Steven Spielberg’s direction makes even the absurd believable, romantic, and passionate. He creates a unique world full of artistic brilliance. The amazing set design and detailed lighting and cinematography are used in a metaphorical sense, a style which is rare in recent films that focus on realism. The use of the visual medium to convey emotions adds much more depth to an otherwise superficial plot and creates an entertaining output. West Side Story is cinema in its purest form.

4. Dune

Dune is a visually stunning masterpiece that serves as a powerful origin story for a hero in a science fiction universe of emperors, houses, and outcasts. The film is about the power struggle between outsiders over a land of spices, as the original inhabitants of the planet continuously suffer. This intriguing storyline of a new world has multiple references to real world colonialism. Alongside the symbolism, it also provides identifiable characters, whose mental struggles are not much different from ours. The hero is struggling between two different identities and family histories. His father’s title and his mother’s power clash ultimately leading to an identity crisis within. The film is symbolically, visually, and personally powerful. However, while it is captivating, it isn’t entirely satisfying. The development is extremely slow with focus on pulling us into this world rather than into action. Yet, it achieves its intention and provides a great setup for a sequel.

5. Don’t Look Up

Don’t Look Up is a hilarious satire that uses the arrival of a deadly comet as a metaphor for current real-life issues that can lead to the end of the world. This black comedy portrays “comedic dread” as it transitions constantly and abruptly between comic leisure and resonating themes. It is hilariously depressing which shows how effective it is. While the script is brilliant, the execution veers between a powerful satire and a lengthy comedy sketch, sometimes coming off as a bit too amateurish. The topic is important but the filmmaking could have been better. However, the grand cast, with their brilliant comic timing keep the film engaging as the crisis in the narrative ripples out of control.

6. King Richard

A heartwarming biopic on the growing years of tennis players Serena and Venus Williams, King Richard beautifully shows the contrast between the taste of success and the struggles of being a person of color in America. As these two youngsters rise, they also confront the racism and dangers around them both from outside their community and within. The focus of the story is on their father and his guidance in their journey, giving it a unique perspective in comparison to the typical biopic. But the arc of the narrative is conventional. It has a predictable layout with an obvious conclusion. The journey isn’t unique enough for the film to be too different. However, it is engaging and focuses on important issues making it a worthwhile watch.

7. Belfast

The life of a young boy is transformed overnight as he is confronted with religious divides and cultural disparities in 1960s Ireland. A semi-autobiographical story set in a tumultuous period, Belfast follows a family that grapples with the changing political climate and economic struggles within their community. The themes are relevant to children today who struggle with understanding the difference between “good” and “bad’ as adults around them propagate religious extremism and racial divides. Filmed in black and white, the film is artistically brilliant using the most powerful aspects of non-color storytelling (lights, shadows, and framing). But the story and characters are not impactful enough for the cinematic techniques to have a strong effect. The plot is slightly engaging and enlightening, but not as personal as other critics deem it to be. And there is very little to connect to in the characters, making it an emotionally weak narrative. However, it is a meaningful film, making it worth a one time watch.

8. Nightmare Alley

In a neo-noir remake of the 1947 film of the same name, Guillermo del Toro’s Nightmare Alley follows a young man’s rise and fall in his ambitious drive to boost his psychic career. Though the overall story arc is powerful, the progression is weak. It takes time to develop, focusing instead on visual storytelling. For a majority of the first half, there is no clear direction. Much of the development seems pointless with no proper end in sight. Despite a weak buildup, the film has all the makings of a noir. An ambitious, yet foolish male character, is enchanted by a femme fatale, leading to his ultimate destruction. The camerawork and editing also take the essence of the noir style, with unique framings and contrasting greens and yellows. But the aesthetic visuals are not enough to support the weak script.

9. The Power of the Dog

Based on a 1967 novel of the same name, The Power of the Dog, is about a rancher who resorts to intimidation when his brother brings home a new wife and her son. As time passes, however, he slowly discovers and understands parts of himself that he had repressed for years. The film subverts the cliches of a typical Western by questioning the very ideal on which it is built, the idea of masculinity. As the characters struggle with their sense of self, their relationships with one another change, leading to an interesting climax. Thematically and visually the film is powerful, but the metaphors are not worthwhile if the film is not engaging enough. It is extremely slow in the first half only picking up pace as the narrative begins to unravel. The context for that narrative is important but requires much patience and full attention. It includes many scenes of solitude which can be unnerving when there is little emotional attachment to the characters. While the film is certainly impactful in parts, the themes aren’t powerful enough to carry the two hour long film.

10. Licorice Pizza

January 24, 2022

by Inakshi Chandra-Mohanty

“For she had eyes and chose me” - Othello. 

It’s ironical that a quote that refers to absolute trust in marriage is chosen to represent the story of a man whose life is riddled with lies and deception. But it is not the metaphorical meaning of this quote, it’s the literal one that encapsulates the narrative of this show. It’s a story in which a woman’s gaze and her possession become a cage. In Yeh Kaali Kaali Aankhein, Vikrant (Tahir Raj Bhasin), an engineering graduate with big dreams and high hopes, is obsessively pursued by Purva (Anchal Singh), a politician’s daughter. His attempts to escape only drag him further into the darkness, slowly transforming him into a version of the people he despises. 

Though there are many interesting twists throughout the narrative, the story is no novelty. It’s a simple tale of love, power, and revenge. But it is this simplicity that makes the execution so powerful. Writer-Director Siddharth Sengupta, known for his extensive work on television, is a master storyteller. He manages to make even the predictable fresh. Despite having an idea of what will happen next, the when and how of each situation is surprising. Thus, the suspense never falters. 

All the characters are extremely well-written. But the show rests on the shoulders of Vikrant and Purva. Vikrant is a character cornered by people whose concern is anything but his happiness. We empathize with his helplessness yet feel infuriated by his lack of agency. From agreeing to go to Akhilesh’s office for the first time, to telling Purva that there’s no one in his life, Vikrant consistently makes bad decisions pushing him deeper and deeper into the mess. Yet, we can’t help but follow him and see his journey as he navigates the intricate web of politics, family, relationships, and love. 

His class renders him powerless. Thus, his earlier decisions could be attributed to fear. But as he delves deeper into this dark world, he begins to lose integrity. In an effort to eliminate the family, he becomes one of them. We want Vikrant to succeed, not because we believe he is right, but because he has already lost so much of himself in this struggle, that it would be a shame for him to lose. 

Purva is the anchor to Vikrant’s decisions. Her role is that of a femme fatale. To some extent, Vikrant is driven by his fears and insecurities. But his initial spate of bad decisions are made due to his inability to refuse her. She is an alluring and manipulative woman. The class disparities challenge traditional gender stereotypes. Vikrant’s middle-class background leads him to being more subdued and silently complicit, while Purva’s upper class upbringing, has made her into a bold woman giving her the power in their relationship. 

Tahir Raj Bhasin is excellent as Vikrant. He’s not only the main character, but also the narrator. It is a major responsibility to hold together the narrative through one’s voice, which he does effortlessly. Anchal Singh is also fantastic. She brings out the two opposing sides of Purva with such grace. Transitioning between the sweet, caring daughter, and the manipulative, possessive lover is no easy task. The remaining actors all do well in their respective parts, but those characters have little to offer to the narrative. 

September 14, 2020

by Inakshi Chandra-Mohanty

A one hour thirty-eight minute film, shot entirely on an iPhone, in eighteen days, during the lockdown in India, emerges as the latest achievement for the Malayalam film industry. Directed by Mahesh Narayanan of Take Off fame and starring Fahadh Faasil, Roshan Mathew, and Darshana Rajendran in lead roles, C U Soon is a romantic tech thriller that follows a young couple’s budding romance and the events that follow the disappearance of the girl. When Anu (Darshana Rajendran) goes missing, Jimmy (Roshan Mathew) enlists the help of his tech savvy cousin, Kevin (Fahadh Faasil), to find the girl and unleashes a pandora’s box of secrets. 

It’s a fresh take on a done-to-death story. The concept of the film is extremely predictable and doesn’t leave much room for imagination. But due to the novel filmmaking and well sketched out characters, the unoriginality of the plot isn’t concerning. The entire film plays out on the laptop and phone screens of the different characters, as the video call romance turns into a digital hunt for the truth. The undertones of the film are reminiscent of the 2018 film, Searching, which had a similar format and an equally engaging plotline. Yet, this experimental venture is molded for the Indian audience, with a beautiful play on emotions through the dormant screens. While the technology marvel is the central attraction in this film, it doesn’t overpower the storytelling techniques and raw emotions that build audience concern for the characters. 

None of the characters ever dominate the entire screen due to the nature of technological devices, and the illusion of portraying a computer screen. Yet, despite being limited, the actors manage to emotionally enthrall the audience with their performance. From Dhanya Rajendran’s portrayal of an emotionally drained girl caught in a never-ending struggle to Roshan Mathew’s performance as a love-struck boy, confused and frustrated by the web of lies surrounding him, every actor brings out the the emotions with a sincerity that requires stronger acting to make their presence felt on the small screen. The most powerful of them all was Fahadh Faasil.  His character is an outsider who gets engulfed into the world of the young girl as he vies for the truth. Kevin is the only character who has multiple scenes on screen on his own as he surfs through Anu’s data for clues. There are many moments that his emotions take over as he realizes what he has discovered and in those moments, Fahadh Faasil excels. 

Mahesh Narayanan not only directed the film, but also conducted the visual editing for the film. That included the swift movements between screens and the close up camera angles that highlighted the eyes of the characters. It is often said that actors speak through their eyes. Pain, anger, love, and a variety of emotions can be expressed solely through the eyes. Thus, Narayanan’s decision to edit in many close ups of the eyes during vital scenes, led to a larger emotional impact on the audience. 

June 27, 2020

by Inakshi Chandra-Mohanty

In the last few years, Indian filmmakers have reinvented the horror and supernatural genre for the Indian audiences. Taking inspiration from Indian mythology and literature, these new-age films have left behind the conventional use of jump scares and ghosts in havelis, that dominated the narrative of early Indian horror. Many of these tropes were directly lifted from Hollywood films and placed in an Indian setting leaving little room for innovation. But lately, filmmakers are exploring different territories in this genre. From Pari to Tumbbad, the conventional horror film has been transformed into a vivid display of mythology and fantasy, and now the latest edition to this list is Bulbbul. A supernatural period drama, the film traces the life of a child bride as she matures into young woman presiding over a fragmented household. In the midst of her reign, a series of murders take place and her London return brother-in-law decides to uncover the truth behind the rumors that this is the work of a chudail (witch). 

The film is nowhere near perfect. The progression of the story is mundane and predictable. Yet, it is difficult not to marvel at the ambitious nature of the concept and the novelty with which it is executed. A lack of suspense and thrill don’t take away from magnificence of the tale being told. The slow, brooding nature of the story revels in the horrific themes explored in the film. Based in patriarchal sentiments, the film emerges as a feminist tale and twists the age-old terrorizing legend of the chudail into the story of an audacious young woman, plagued by a traumatic past. The roles are reversed as demon becomes human and human becomes demon. The film isn’t meant to be a horror film set in a fantasy world with unknown evils. Instead, it is reflective of the world that we live in, and the demons within us that bring out the demons within others. 

Writer-director Anvita Dutt has built a fantasy aesthetic out of a real world in her debut film. The film is meticulously put together. As a director, she has excelled. However, as writer, she falters. Conceptually and structurally, the writing is strong, but some of the character are half-baked. The two characters, which are extremely well written and have the strongest arcs are Bulbbul and her sister-in-law, Binodini. This may be due to the unusual bond between them. They are the antithesis of one another. Bulbbul defies all odds to do what no other woman would dare, while Binodini is the one to conform, relishing in the luxury. Yet, they are not much different. They have both suffered. But, Bulbbul’s suffering becomes her strength as she refuses to become another Binodini. While she had many complaints with the latter, a victim turned victimizer, she also held a bit of sympathy for this woman who had suffered a similar plight to hers. 

Compared to these strong female characters, the male characters are poorly written. They are all written in relation to Bulbbul, thus their own personality and motivations are clouded by Bulbbul’s character development. Satya and Dr. Sudip are the most disappointing. They are the characters that compose the conflict in the climax. Yet, that conflict is only believable when the characters’ arcs are clear. Satya’s anger towards the chudail and his behavior at the end isn’t justified, while Sudip’s mysteriousness remains a mystery. Maybe this can be attributed to the fact that the writer is a woman, making a film about women. Thus, the focus heavily shifted towards the female characters. 

These characters would be just words written on paper if the actors hadn’t brought them to life. Tripti Dimri essays the titular role, Bulbbul, and masters the role with elegance. This is the most layered character in the film with the strongest shifts in personality. The same smile that propagated innocent charm as Laila in Laila Majnu displayed cunning boldness as Bulbbul. While in her former film, she fit the part and provided a great companion to Majnu, in this film, she owns every frame and displays consistency in complexity. It’s not just an improvement. She has truly reinvented herself for this role. Paoli Dam as Binodini is equally as admirable. She emotes so seamlessly, though her screen time is considerably less than the former. Avinash Tiwary, Rahul Bose, and Parambrata Chatterjee are apt in the roles written for them. 

While Anvita Dutt is definitely the master of this project, due credit must also be given to Clean Slate Productions, helmed by Anushka Sharma. The company has been backing ambitious, content-driven projects with a focus on new talent. Even though Bulbbul and the company’s previous horror outing, Pari, are not perfect, both have had a large impact on the approach to horror in Indian cinema. Hopefully, as more and more artists begin to experiment with the genre, these great concepts will lead to great cinema. 

May 6, 2020

by Inakshi Chandra-Mohanty

Disclaimer: This article contains SPOILERS. 

It is somewhat ironic that a film that begins and ends with death speaks to the revival of a dying tradition. Oppari, an ancient form of lament in the Tamilian culture, is the crux of this story, around which the characters evolve. According to this custom, women will sing an improvised song, with lyrics that serve as eulogy to the person that has died. Another part of this custom involves dressing up the corpse and adorning the corpse with makeup. While this seems like a beautiful celebration of life and an art form that needs to be preserved, the stigma of being connected to death, has led to the slow death of this beautiful practice. In Sethum Aayiram Pon, Meera (Nivedhithaa Sathish), a cinema make-up artist, returns to her village to a strained relationship with her grandmother, Krishnaveni (Srilekha Rajendran), an Oppari singer. There she is immersed in traditions foreign to her as she gets to know her grandmother, whom she was separated from as a toddler, and develops a bond with Oppari make-up artist, Kuberan (Avinash Raghudevan), with whom she had escaped a wedding at the age of five. 

The custom of Oppari isn’t the central theme of the narrative, but serves as the basis to explore larger themes of life and death. Meera is a character who has suffered the death of both parents and is now flung into a universe where death is seen as a celebration. While everyone is clearly in mourning, the presence of dancers, music, singers, make-up artists, and more, make the gathering feel like a grand occasion. The birth of this film commences with the death of an individual. Meera’s first foray into the village is into one such celebration as she witnesses her grandmother sing an Oppari song to commemorate one of the villagers. As she spends more time with the people and mends her relationship with her grandmother, she slowly starts to become one of them. Her career as a make-up artist allows her to participate in the customs, initially due to a hurt ego and eventually from the heart. When she does the make-up for the little girl, Rani, it’s not only due to Kuberan’s refusal, but due to her true belief that the girl’s dream of dressing up like a heroine deserved to be fulfilled. 

After the young girl’s death, Meera has a lovely conversation with her grandmother on life, death, and the volatility of life. Krishnaveni endows wisdom on her granddaughter by saying, “Death is inevitable. If death ceases to exist, humans will become idle and lazy. Just like birth, death should be celebrated as well.” This one quote determines the essence of this film.  People are born to die. Everyone will go one day and life is unpredictable. Thus, death should not be seen as a depressing instance, but should be viewed in the larger perspective of life. Just as people celebrate a life entering this world as potential for the future, people should celebrate a life leaving the world for they have served their purpose. 

March 4, 2020

by Inakshi Chandra-Mohanty

Relationships survive on compromise. Both partners must agree to make some changes in their lifestyle to adapt to one another’s needs. But, this cannot happen at a loss of respect. In Thappad, Amrita (Taapsee Pannu) is a housewife by choice, not by pressure. She derives immense satisfaction from her daily routine and never imagines a life separate from that. However, everything changes after her husband slaps her during a violent fight with his boss. She begins to view their relationship, his behavior, and everyone else’s reactions in a different light, and thus begins a complex analysis of a modern day Indian marriage. 

Thappad is, on the surface, a story revolving around domestic violence. The film deals with the build up to and aftermath of a husband slapping his wife for the first time during a house party. But the film is not a one toned analysis of women’s rights and feminism. It is a take on the entitlement and subtle patriarchal sentiments that dominate the culture in India. It is about male privilege and how it has seeped into the lives of even those men who believe that they are being liberal. From a patriarchal perspective, the slap is a supposedly trivial incident that disrupted the lives of these regular people living regular lives. But the film shatters that perspective by fleshing out the underlying patriarchy. The audience realizes that the slap isn’t the cause of differences between the husband and wife. It’s just a trigger that allows this woman to see all the casual sexism that she had been ignoring. And the aftermath of the incident is all about moving ahead rather than forgiveness and emotions. Everyone around Amrita is adamant that she let go and move on. Nobody tries to understand what her feelings are or attempts to point out her husband, Vikram’s, fault. On the other hand, Vikram takes her for granted and regards his rant to suffice as an apology. The problem lies in the mindset of people, not in the act of slapping. 

Writer Mrunmayee Lagoo and Writer-Director Anubhav Sinha take a simple concept and weave it into an intricate drama. They create a multitude of characters of different mindsets, different lifestyles, and different classes, who are all somewhat connected to and affected by this incident. From a neighbor who is a single mother, to a maid who is constantly suffering domestic violence, to a lawyer unhappy in her marriage, to a mother who has compromised in her relationship and is unsure of her daughter’s decision to not compromise, each character is beautifully sketched out and delivers a different perspective to the incident. Apart from these characters, there are so many more that shape this narrative, and the decisions that the lead character takes. 

The film boasts of an excellent star cast. Seen in a completely different avatar from her previous roles, Taapsee Pannu shines as the simple and docile housewife, trying to regain her respect after a trauma-inducing incident. Amrita is not rebellious. But she is also not one to lie low when someone tarnishes her respect. This role requires someone who can speak without words. For most of the film, Amrita is mostly silent, internalizing what is happening around her. But in that silence, her face reveals her thoughts. During the interactions between the husband and wife, as he attempts to reconcile with her, the hypocrisy in his words are reflected in her expressions. Pavail Gulati is also brilliant, as the husband troubled by his own problems, yet inconsiderate of his wife’s emotions. Apart from these two, the remainder of the cast is equally as fantastic. Ratna Pathak Shah, Dia Mirza, Kumud Mishra, Naila Grewal, Tanvi Azmi, Maya Sarao, Geetika Vidya, Manav Kaul, Siddhant Karnick, and everyone else fit their diverse roles perfectly. Each character represents a different aspect of society. Each one of us is in one of those characters so it is very important for them to be portrayed accurately.