Category: Cinema

Upcoming Events at Asia Society – Dive into the world of cinema this August and September!

🎬 Parallel Days/Bollywood Nights – Weekend Three

Mughal-e-Azam & Mati Manas

📍 Dates & Times

August 8 | 6:30–9:45 PM (ET) – Mughal-e-Azam

August 9 | 2:15–4:15 PM (ET) – Mati Manas

Celebrate two contrasting masterpieces of Indian cinema: K. Asif’s Mughal-e-Azam — A grand Bollywood epic of forbidden love and royal rebellion. Experience the visual splendor on a fully restored, colorized 35mm print.

🎤 Introduced by film scholar Siddhant Adlakha

🥂 Enjoy complimentary wine & bar bites before the screening and during intermission.

Mani Kaul’s Mati Manas — A poetic meditation on India’s ancient ceramic traditions. Blending fable, craft, and philosophy, this film is a lyrical journey into the soul of creation.

🎟️ Get tickets

🎞️ Parallel Days/Bollywood Nights – Featured Screenings

🎬 Mughal-e-Azam

📅 August 8 | 🕡 6:30–9:45 PM (ET)

Bollywood at its most majestic — a tragic royal romance brought to life on a rare 35mm print.

🍷 Pre-screening wine & snacks included.

🎤 Introduction by Siddhant Adlakha.

🎟️ Get Tickets

🎬 Mati Manas

📅 August 9 | 🕑 2:15–4:15 PM (ET)

A spiritual and artistic journey through India’s clay traditions, myths, and makers.

🎟️ Get Tickets

🎬 Paheli

📅 August 22 | 🕡 6:30–9:00 PM (ET)

A charming folk tale starring Shah Rukh Khan & Rani Mukerji — a ghost story like no other.

🎧 Reception follows with DJ Rekha.

🎟️ Get Tickets

🎬 Kathapurushan

📅 August 23 | 🕑 2:15–4:00 PM (ET)

Adoor Gopalakrishnan’s coming-of-age tale wraps up the summer film series on 35mm.

🎟️ Get Tickets

Mohanlal, one of the most beloved actors in Malayalam cinema, experienced a rather underwhelming 2024. His two major releases that year, Malaikottai Vaaliban and Barroz 3D, failed to make the intended impact at the box office. These setbacks, while disheartening, were not unfamiliar territory for the actor whose career began with the 1980 classic Manjil Virinja Pookkal. Over the span of 45 years, Mohanlal has witnessed a series of highs and lows. However, some fans and critics began to speculate whether the iconic ‘Lalettan’ was losing his touch. His response to such doubts has been nothing short of emphatic: a record-breaking performance in 2025, collecting a combined ₹500 crore in global box office revenue—largely single-handedly—for the Malayalam film industry.

The year 2024 was not particularly kind to Mohanlal. According to box office tracker Sacnilk, Malaikottai Vaaliban earned ₹29.75 crore globally, while Barroz 3D managed only ₹15.1 crore. Though these figures would be considered acceptable for smaller Malayalam films, they were disappointing given the scale and expectations surrounding both projects. Barroz 3D, in particular, was hyped as a potential game-changer in Malayalam cinema but failed to impress audiences due to its poor visual effects. On the other hand, Malaikottai Vaaliban did manage to find a segment of its audience but ultimately lacked the widespread appeal that was anticipated.

The tide turned dramatically in 2025. March saw the release of L2 Empuraan, which not only shattered box office records in Kerala but across India as well. The film grossed ₹265.5 crore worldwide, making it the highest-grossing Malayalam film in history and the second-highest-grossing Indian film of 2025. This level of success was unprecedented for the Malayalam industry, which has long been celebrated for its thoughtful storytelling but rarely for box office dominance.

Hot on the heels of L2 Empuraan, Mohanlal released another blockbuster in April—Thudarum. This film too performed spectacularly, raking in ₹234.5 crore worldwide. It currently holds the position of the fourth-highest-grossing Indian film of the year. When the earnings of L2 Empuraan and Thudarum are combined, they cross the ₹500 crore milestone. This figure doesn’t even include the additional ₹1.05 crore collected within just two days from the re-release of his 2007 film Chotta Mumbai, which further adds to his recent box office resurgence.

To put these numbers into perspective:

• L2 Empuraan earned ₹265.5 crore globally
• Thudarum followed closely with ₹234.5 crore
• Chotta Mumbai brought in ₹1.05 crore in just two days after its re-release

This brings the total worldwide gross from these three films to a staggering ₹501.05 crore.

These earnings have not only silenced Mohanlal’s critics but have also reinforced his status as a cornerstone of Malayalam cinema. For an industry that has long been known for its emotionally rich and intelligent narratives rather than massive commercial success, Mohanlal’s 2025 performance has rewritten what is possible for Mollywood.

Looking ahead, the legendary actor shows no signs of slowing down. His upcoming film Vrusshabha, an epic action-drama, is set to release on 16 October. Before that, audiences can look forward to Hridayapoorvam, a family drama slated for release on 28 August. Both films are eagerly awaited and expected to continue his strong box office momentum.

Additionally, one of the most talked-about future projects in the Malayalam film industry is an ambitious multi-starrer featuring Mohanlal, Mammootty, and Fahadh Faasil. This high-profile collaboration is already being described as a potential industry-defining film and could serve as Mollywood’s next major milestone.

Mohanlal’s journey from a challenging 2024 to a record-breaking 2025 serves as a powerful reminder of the unpredictability and magic of cinema. Even after more than four decades in the industry, he continues to push boundaries and surprise audiences. His remarkable comeback has not only reinforced his legendary status but has also opened new commercial horizons for Malayalam cinema.

“Failures are nothing new to the star who began his career with the 1980 film *Manjil Virinja Pookkal and saw many ups and downs in these 45 years,” noted a film industry observer. Indeed, his enduring popularity and ability to rebound reflect both his talent and the deep connection he shares with his audience.

With over ₹500 crore in global earnings from just three films and more high-profile releases on the horizon, Mohanlal is not just having a moment—he is defining one. As Mollywood evolves into a more commercially robust segment of Indian cinema, it is fitting that one of its greatest icons is leading the charge. His 2025 box office run is a testament to resilience, reinvention, and the enduring power of stardom.

The inaugural concert of the Quarantine From Reality (QFR) High 5 Tour drew an enthusiastic crowd of over 800 members from the Tamil community on May 24, 2025, in Vienna, Virginia. The event attracted attendees not only from the Washington DC metropolitan area but also from neighboring states such as Pennsylvania and Delaware. Over the course of a three-hour program, the audience was taken on a nostalgic journey through classic Tamil songs composed by musical legends including M.S. Viswanathan–Ramamoorthy, Ilayaraja, and A.R. Rahman.

This event served a dual purpose as a fundraiser for the World Tamil Music Development Center (WTMDC), which was established in April 2022. The center aims to create a global platform dedicated to Tamil music resources, providing educational materials, literary compositions, and curated musical content for enthusiasts worldwide.

QFR was launched during the COVID-19 pandemic and rapidly gained popularity due to its distinctive ability to evoke memories from the golden age of Tamil cinema music. Although global lockdowns have since ended, QFR’s appeal has not diminished; the show has amassed a worldwide following and has produced over 700 episodes in the past five years. Known for its meticulously curated performances, QFR not only delivers music but also shares behind-the-scenes stories about iconic songs, their composers, musicians, and traditional instruments, enriching the audience’s experience.

During the concert in the DMV region, the QFR ensemble presented an impressive setlist featuring timeless hits like Madhavi Pon Mayilal, Thee TheeThithikkum Thee, Aayiram Thamarai Mottukale, GermaniyinSenthenMalare, Rasathi Unna KanathaNenju, Madura MarikolunthuVaasam, PoonkadhaveyThaalThiravai, Poove Ilaiya Poove, Kannan VandhuPaaduginraan, AattamaTherottama, and En Kanmani Un Kadhali, among others. The evening was further enhanced by several medleys that added layers of musical richness to the performance.

A notable innovation during the concert was the QFR Live segment, in which Subhasree Thanikachalam’s team re-recorded the background score for an old movie clip with precise synchronization, blending the visual and auditory experience seamlessly. Another highlight showcased a cross-geographical live collaboration between musicians: a singer performing from Chennai and a guitarist playing from Mumbai joined forces with onstage musicians in Virginia to create a harmonious musical experience.

Following the event, Subhasree Thanikachalam, founder of QFR, described the concert as “fantastic.” She expressed her joy, stating, “I am very happy that the show was houseful on a Saturday evening that too on the Memorial Day weekend. And I’m so honored to be performing for such a prestigious organization. The audience really enjoyed throughout the concert and cheered us all along. It was so heartwarming. I will never forget this concert for a long time,” she told South Asian Herald.

Babu Vinayagam, founder of WTMDC and a key partner in promoting the concert in the DMV area, spoke to South Asian Herald about the synergy between the two organizations. He said, “WTMDC was pleased to organize the QFR event as their mission to give opportunity to the musicians worldwide aligns with ours.” Vinayagam praised QFR’s live music quality as “unparalleled” and was particularly excited to see the traditional Tamil instrument, Veena, featured during the performance. He added that the funds raised from the event will support ongoing efforts to build a comprehensive Tamil music content library for WTMDC members.

Kishore Singh, a core member of the organizing team, described the concert as a “success,” applauding Thanikachalam and her ensemble for their exceptional renditions of songs and medleys by the revered composers. Arthi Srinivasan, another important organizer, joined Vinayagam in presenting WTMDC’s mission and future plans to the audience.

Among the evening’s standout performers was Sai Vignesh, a Filmfare Award-winning vocalist known for his work on “Varaha Roopam” from the film Kantara. His contribution added significant depth to the concert’s musical showcase.

The QFR High 5 Tour’s debut concert not only celebrated the rich heritage of Tamil music but also reinforced the commitment to preserving and promoting this cultural treasure globally. Through innovative performances, cross-regional collaborations, and a strong community turnout, the event marked a memorable milestone for Tamil music enthusiasts and set a promising precedent for future shows under the QFR banner and WTMDC’s ongoing development initiatives.

After a full month of theatrical release across global markets, director Ryan Coogler’s Sinners is inching toward what appears to be its final significant box office benchmark. Since its debut, the film has not only opened to record-setting numbers but has also maintained exceptional performance, particularly within domestic markets. Over the past few weeks, it has ascended to become one of the top 10 highest-grossing horror films in history. Current projections estimate that Sinners will wrap up its global theatrical run with over $350 million in earnings.

The film recently reached another milestone by surpassing a cinematic classic. It has now overtaken Steven Spielberg’s critically acclaimed 1993 drama, Schindler’s List, in terms of unadjusted global box office earnings. Sinners has so far accumulated over $245 million in North America and nearly $80 million internationally, pushing its worldwide total to $322.6 million. This figure just edges out the $322.1 million global earnings of Schindler’s List, a film that has long been regarded as one of the most important and successful historical dramas ever made.

However, it’s important to note that these numbers do not account for inflation. If adjusted, Schindler’s List would boast much higher numbers, particularly in the domestic market. At the time of its release, the World War II-era biopic earned $96 million domestically, which would translate to over $265 million when adjusted to today’s value. Nonetheless, traditional box office records do not typically adjust for inflation, making Sinners’ recent triumph an official and notable milestone in cinematic earnings.

The achievement is particularly striking given the limited overseas appeal of Sinners, with its cultural resonance proving strongest in American theaters. Despite its relatively modest international presence, the film’s domestic performance has been powerful enough to push it into historic territory. The narrative, budget, and direction have all contributed to its widespread acclaim and box office success.

Schindler’s List was a turning point in the career of Steven Spielberg, who was already one of Hollywood’s most celebrated directors by the early 1990s. The film, a powerful biographical portrayal of German businessman Oskar Schindler who saved the lives of over a thousand Jews during the Holocaust, represented a significant shift for Spielberg. Known primarily for blockbuster hits like E.T. and Indiana Jones, Spielberg used Schindler’s List to demonstrate his capability in delivering profound, serious cinema.

Indeed, Schindler’s List arrived in the same year as Jurassic Park, a film that showcased Spielberg’s continued dominance in the realm of big-budget action-adventures. Yet it was Schindler’s List that earned him his first Academy Award for Best Director, firmly establishing him as a filmmaker capable of spanning genres and emotional depths. The film remains one of the most critically revered pieces in cinematic history, with an almost flawless 98% score on Rotten Tomatoes.

More than thirty years later, Spielberg is preparing for yet another ambitious undertaking: a mysterious new science-fiction film slated for release in 2026. While details remain scarce, the announcement has generated considerable anticipation given the director’s track record.

In a similar vein, Coogler appears to be carving out a comparable niche in the landscape of serious studio filmmaking. Much like Spielberg’s evolution from entertainment-driven blockbusters to emotionally resonant dramas, Coogler has shown that he is equally comfortable creating thought-provoking and commercially viable works. Sinners represents his first original concept since his 2013 debut with Fruitvale Station, a film that also garnered widespread critical attention.

Coogler’s latest film was met with near-universal praise upon its release and continues to hold strong ratings across both critic and audience platforms. Sinners currently enjoys a “certified fresh” 97% rating on Rotten Tomatoes. On the same site, it boasts an equally impressive 96% audience score, labeled as “verified hot.” These scores closely mirror those of Schindler’s List, underscoring the level of critical and popular acclaim that Coogler’s film has achieved.

Produced on a reported budget of $90 million, Sinners tells the chilling story of twin siblings who return to their Mississippi hometown, only to encounter a deadly coven of vampires. The plot fuses traditional horror elements with deeper social commentary, a blend that has resonated strongly with viewers and critics alike. This creative and thematic balance likely contributed to its solid domestic turnout and enduring interest over the past month.

The movie’s success is not just in terms of box office figures, but also in what it represents for Coogler’s artistic evolution. Known for his work on Fruitvale Station, Creed, and Black Panther, Coogler has long been associated with character-driven stories that reflect personal and societal challenges. With Sinners, he returns to his roots in original storytelling, moving away from sequels and franchise projects to deliver a fresh narrative infused with his signature style.

The film’s influence seems set to extend beyond the financial realm. Much like Schindler’s List challenged and redefined expectations of Spielberg, Sinners could be the project that fully cements Coogler’s place among the most versatile and visionary directors working today. His ability to craft stories that are both commercially successful and critically respected puts him in a rare category — one populated by directors like Spielberg who have managed to navigate both the box office and awards circuits with equal ease.

Although Sinners may be reaching the final stage of its theatrical journey, its cultural and cinematic footprint appears firmly established. As the global total edges closer to the $350 million mark, it has already ensured its place in box office history. Surpassing Schindler’s List — even in unadjusted terms — is no small feat, and speaks volumes about Coogler’s storytelling prowess and the film’s resonance with audiences.

There is a sense of poetic symmetry in the fact that Coogler, who emerged just over a decade ago as a fresh voice in American cinema, now finds his work being compared with and measured against some of the most enduring classics in the medium. With Sinners, he has not only entertained but also provoked thought, delivering a horror film that lingers long after the credits roll.

As Sinners continues its slow climb toward its final box office milestone, it does so having already joined an elite club of genre-defining films. The movie’s triumph underscores not only its immediate success, but also the enduring appeal of well-crafted, intelligent storytelling in cinema today.

The filming of the much-awaited Mohanlal-Sathyan Anthikad project, Hridayapoorvam, has officially concluded. The superstar himself shared the update through his Instagram handle, confirming the completion of the shoot and offering fans a glimpse into the final moments on set. Alongside the announcement, Mohanlal posted two significant photographs marking the end of production. One picture showed the entire team of cast and crew gathered with the words “Pack Up” visibly displayed in the background, while the other was a close-up of the film’s clapboard with the title Hridayapoorvam and the same concluding message.

In his Instagram post, Mohanlal wrote, “That’s a wrap! See you on the big screen. Hridayapoorvam,” stirring excitement among his fans. Directed by veteran filmmaker Sathyan Anthikad, Hridayapoorvam is touted to be a family-centric drama. The film draws its narrative from a story penned by Anthikad’s son, Akhil Sathyan, adding a generational collaboration to the creative mix.

The ensemble cast for Hridayapoorvam boasts an impressive lineup including Mohanlal himself, alongside Malavika Mohanan, Sangita Madhavan Nair, Sangeeth Prathap, Siddique, Sabitha Anand, Baburaj, Nishan, Lalu Alex, Janardhanan, and S. P. Charan. This film marks the latest reunion of Mohanlal and Sathyan Anthikad, their previous collaboration being the 2015 film Ennum Eppozhum, which was widely appreciated for its heartfelt storytelling and strong performances.

Principal photography for Hridayapoorvam began in February 2025, with the filming carried out across picturesque locations in Kochi and Pune. The team worked steadily through the schedule, wrapping up the shoot without significant delays. The film is now slated for a theatrical release on 28 August 2025, promising to deliver another compelling narrative that resonates with family audiences.

Meanwhile, Mohanlal continues to bask in the phenomenal success of his most recent release, Thudarum, which has taken the Kerala box office by storm. The film has emerged as a historic blockbuster, grossing an astonishing Rs 100 crore within Kerala alone—an unprecedented milestone in the regional film industry. The achievement was proudly announced by the actor on social media, accompanied by a celebratory poster that read: “A new chapter in Kerala box office history. A 100 crore Kerala gross.”

Expressing his heartfelt gratitude, Mohanlal captioned the post with, “Thudarum storms into the record books with its first 100 crore mark exclusively at the Kerala box office! A milestone that we created together! Thank you, Kerala.” The statement underlined the collective effort behind the success and highlighted the actor’s deep appreciation for his audience.

Following the record-breaking feat, Mohanlal took to his X (formerly Twitter) timeline to share a more personal message about what the film’s reception has meant to him. “I’m deeply moved and truly humbled by the love and heartfelt response for #Thudarum. Each message and every word of appreciation has touched me in ways I can’t fully express,” he wrote, offering fans a glimpse into his emotional state as the film’s popularity continues to soar.

Mohanlal elaborated further, saying, “Thank you for opening your hearts to this story, for seeing its soul, and for embracing it with such grace. This gratitude is not mine alone. It belongs to every single person who walked this journey with me, giving their love, effort, and spirit to every frame.” The actor was clear in emphasizing that the triumph of Thudarum was a shared experience, belonging as much to the team behind the scenes as to the fans who embraced it.

In particular, Mohanlal made it a point to acknowledge several key contributors to the film’s success. “To Renjith M, Tharun Moorthy, KR Sunil, Shobhana, Binu Pappu, Prakash Varma, Shaji Kumar, Jakes Bejoy, and our extraordinary team — your artistry and passion made Thudarum what it is,” he noted, naming the individuals who played integral roles in shaping the film’s artistic and technical excellence.

He concluded his message on a poignant note, stating, “To see it resonate so deeply is more than a reward. It is a true blessing. With all my heart, thank you. With love and gratitude always.” The words struck a chord with audiences, highlighting the humility and emotional connection Mohanlal shares with his work and those who support it.

The twin developments—Hridayapoorvam wrapping its shoot and Thudarum hitting the 100-crore mark—underscore the prolific phase Mohanlal is currently experiencing in his career. While fans await the theatrical release of Hridayapoorvam with anticipation, the ongoing success of Thudarum continues to affirm Mohanlal’s enduring appeal and stature in the Malayalam film industry.

With a career spanning over four decades and a portfolio of diverse roles, Mohanlal remains one of India’s most beloved and bankable stars. The emotional weight he brings to his performances, combined with his unwavering dedication to storytelling, keeps drawing viewers to theatres. As Hridayapoorvam nears its release date, expectations are naturally high for another emotionally resonant film, especially given the legacy of Mohanlal-Anthikad collaborations.

For Sathyan Anthikad, Hridayapoorvam marks yet another chapter in his long-standing relationship with Mohanlal, one that has given Malayalam cinema several memorable films. The director’s ability to craft narratives that reflect everyday life and emotions has always resonated with family audiences, and with Akhil Sathyan contributing the story, this film may offer a refreshing blend of traditional sensibilities with contemporary storytelling.

As the curtain comes down on the production of Hridayapoorvam, and the curtains rise higher on Thudarum’s theatrical triumph, Mohanlal seems firmly poised at the intersection of artistic achievement and mass appeal. Whether it is through heartfelt family dramas or powerful box office juggernauts, he continues to leave an indelible mark on Indian cinema.

In a remarkable instance of an actor surpassing his own past success, Mohanlal’s recent release Thudarum has officially outperformed his 2016 blockbuster Pulimurugan at the box office, earning the distinction of being the sixth highest-grossing Malayalam film in history. According to data from Sacnilk, the emotionally driven family drama has collected Rs 79.85 crore so far, overtaking the Rs 76.67 crore earned by Pulimurugan during its lifetime run.

Directed by Tharun Moorthy, Thudarum offers audiences a soul-stirring narrative anchored by a powerful performance from Mohanlal. The film’s deep emotional resonance has found strong favor with viewers across Kerala as well as in international markets. What sets this achievement apart is the fact that both Thudarum and Pulimurugan feature Mohanlal in the lead role, a clear reflection of his lasting dominance at the box office and his adaptability across genres.

While Pulimurugan was a high-energy action thriller that set new standards for commercial Malayalam cinema, Thudarum stands in contrast as a heartfelt, character-centered drama. Rather than relying on spectacle, it drew in audiences through its compelling storytelling and emotionally impactful performances. This striking shift in tone between the two films highlights Mohanlal’s ability to command attention in both mass-market and intimate cinema formats.

With this new box office milestone, Thudarum has entered the elite circle of Malayalam cinema’s top earners. The current top five highest-grossing Malayalam films at the Kerala box office are Manjummel Boys, L2: Empuraan, 2018, The Goat Life (Aadujeevitham), and Aavesham. Once a record-setter, Pulimurugan has now slipped to seventh place, its position overtaken ironically by another film starring the same actor.

Industry experts attribute the success of Thudarum not only to Mohanlal’s powerful screen presence but also to the film’s steady performance driven largely by positive word-of-mouth. Analysts project that the film could cross Rs 85 crore before it completes its second week, potentially setting it on a path toward entering the Rs 90 crore club in the near future.

“It’s yet another reminder that when it comes to Malayalam cinema, few can match Mohanlal — not even Mohanlal himself,” noted one analyst, capturing the paradox of the actor eclipsing his own benchmarks.

The movie’s strong domestic performance has also been mirrored abroad. Thudarum has been making notable waves in the North American market — a region traditionally led by Hindi and Telugu films. But the landscape is shifting. The release of L2: Empuraan helped generate renewed global interest in Malayalam cinema, and this rising curiosity has opened doors for films like Thudarum to thrive overseas.

Backed by Mohanlal’s immense popularity beyond India, Thudarum has now become his second movie to cross the prestigious $1 million mark in North America, the first being Empuraan. This milestone signifies more than just monetary success — it indicates growing recognition and appreciation for Malayalam cinema in international territories, especially in a marketplace that has often been dominated by larger film industries.

Within just 11 days of its release, Thudarum has already earned over ₹11.50 crore in the North American circuit, a notable feat for any regional Indian film navigating a highly competitive global box office environment.

The film’s accomplishment is particularly noteworthy given the nature of its content. Unlike conventional blockbusters that lean heavily on action sequences, visual effects, or franchise appeal, Thudarum succeeds by offering an emotionally resonant experience. It proves that a strong narrative and moving performances can also pull audiences into theatres, even across linguistic and cultural boundaries.

Mohanlal’s enduring appeal is central to this success. With a career spanning decades and marked by a wide range of roles, he continues to defy expectations — not just by competing with younger stars but by surpassing his own past records. The dual success of Pulimurugan and Thudarum, vastly different in genre and tone, only reinforces his unparalleled versatility.

Furthermore, the director Tharun Moorthy deserves credit for crafting a film that not only speaks to local sensibilities but also resonates universally. By tapping into universal themes of family, loss, and resilience, Moorthy has delivered a story that moves beyond geographical boundaries.

The Malayalam film industry itself is reaping the benefits of this success. The international achievements of Thudarum and other recent releases are gradually reshaping the perception of Malayalam cinema on the global stage. From being regarded as a niche segment within Indian cinema, it is now emerging as a potent creative force capable of delivering both critical acclaim and box office triumphs.

As Thudarum continues its theatrical run, all eyes are on whether it can climb even higher in the box office rankings. With sustained interest from viewers and growing traction in international markets, it seems likely that the film will set further records in the coming weeks.

In conclusion, Thudarum stands not just as a commercial victory but also as a cultural moment — one that reaffirms Mohanlal’s enduring star power, highlights the strength of Malayalam storytelling, and signals a broader shift in global cinema consumption. Its box office numbers are impressive, but its real achievement lies in the way it has connected with audiences, both at home and abroad.

Sir David Attenborough is releasing what he considers one of the most significant films of his entire career as he prepares to mark his 99th birthday this week. Titled Ocean, the new feature-length documentary could, according to Attenborough, serve as a turning point in the fight to preserve biodiversity and combat climate change.

The legendary broadcaster and environmentalist, who turns 99 on Thursday, emphasized the central message of the film: “After almost 100 years on the planet, I now understand the most important place on Earth is not on land, but at sea.” He believes the ocean is not just a part of Earth’s environment but a vital lifeline for humanity and a powerful shield against climate disaster.

The film Ocean asserts that the oceans are currently at a crucial junction, with their health playing a pivotal role in the future of life on Earth. Through stunning visuals and sobering revelations, the documentary highlights both the profound beauty and the alarming degradation of marine ecosystems. According to the film, the ocean acts as the planet’s life-support system, and the choices we make now could determine the survival of countless species and even the stability of Earth’s climate.

A grand premiere for Ocean is set to take place tonight at the Royal Festival Hall, with a blue carpet replacing the usual red to symbolize the film’s marine focus. The event is expected to draw a number of high-profile guests, including Coldplay’s Chris Martin, actor Benedict Cumberbatch, astronaut Tim Peake, singer Geri Halliwell-Horner, and Duran Duran’s Simon LeBon.

Toby Nowlan, the producer of Ocean, noted that the film departs from the usual format of Attenborough’s natural history programs. “This is not about seeing brand new natural history behaviours. It is the greatest message he’s ever told,” Nowlan said. Rather than simply showcasing wildlife, the film is a powerful call to action.

Ocean also serves as a personal reflection for Sir David, tracing the changes in the seas he has witnessed over his lifetime. He recalls his first experience scuba diving on the Great Barrier Reef in 1957, saying, “I was so taken aback by the spectacle before me I forgot – momentarily – to breathe.” That awe-inspiring moment left a lasting impact on him. However, what has followed in the decades since has been a drastic decline in marine biodiversity. “We are almost out of time,” he warns in the film, underscoring the urgency of the situation.

One of the film’s most powerful segments focuses on the destructive impact of bottom trawling, a fishing method that involves dragging heavy nets across the seabed. The documentary presents stark footage of how this technique devastates underwater habitats, portraying it as one of the most harmful forms of industrial fishing. Sir David explains that trawlers often target just a single species, discarding more than 75 percent of what they catch. “It’s hard to imagine a more wasteful way to catch fish,” he says.

In addition to its ecological toll, bottom trawling releases large amounts of carbon dioxide stored in ocean sediments, thereby accelerating global warming. Alarmingly, this harmful practice is not only legal but actively supported by various governments. Sir David expresses concern that the dire state of the oceans has at times made him fear for the planet’s future.

Yet amid the gloom, Ocean also offers hope. What has sustained Sir David’s optimism is what he calls “the most remarkable discovery of all” – that the ocean possesses a surprising capacity for recovery. With proper protection and time, marine ecosystems can regenerate faster than previously believed.

A poignant example in the film is the story of the whales. An estimated 2.9 million whales were slaughtered during the 20th century by the global whaling industry, a mass killing considered the largest of any animal species in terms of total biomass. Sir David reflects on the near-total collapse of whale populations, recalling, “Just one per cent of Blue Whales were left. I remember thinking that was it. There was no coming back, we had lost the great whales.”

However, a global ban on commercial whaling introduced in 1986 following public pressure led to a stunning turnaround. Whale numbers have since rebounded, offering a clear example of how targeted conservation measures can produce dramatic results.

The film’s co-director, Keith Scholey, who has collaborated with Sir David for 44 years, offered insight into the enduring energy and curiosity of the famed presenter. “When I first met David, I was in shorts,” he joked, referring to their first meeting in 1981, just two years after Attenborough stepped down from a senior position at the BBC. “He’d done one career, and he was off on his next.”

Even as he nears 99, Sir David remains deeply engaged and intellectually sharp, according to Scholey. “Every time you work with David, you learn something new,” he says. “It’s really good fun. But also, David keeps you on your mettle, because he is so on his mettle and so, you know, it’s always a very creative process.”

The overarching message of Ocean is one of cautious optimism. Sir David emphasizes that it is not too late to act. He points out that many nations have pledged to protect one-third of the world’s oceans. With a United Nations conference on the horizon next month, he hopes this new film will push global leaders to turn those promises into real, enforceable policies.

He believes that if these commitments are honored, it could result in transformative changes. “The ocean can bounce back to life,” he declares. “If left alone it may not just recover but thrive beyond anything anyone alive has ever seen.” A restored and vibrant marine ecosystem would also capture greater quantities of carbon dioxide, thereby reinforcing the fight against climate change.

Sir David summarizes the stakes involved with his characteristic clarity and urgency: “In front of us is a chance to protect our climate, our food, our home.” His lifelong dedication to illuminating the wonders of the natural world is clearly far from over.

As he celebrates his 99th birthday, Attenborough continues his mission with the same passion and vigor that has made him a trusted voice for the planet for decades. Ocean will begin screening in cinemas across the UK starting Thursday, offering audiences a compelling look at both the peril and potential of Earth’s vast and mysterious seas.

In Raid 2, Ajay Devgn returns as Amey, a no-nonsense and upright officer now stationed in Bhoj, Rajasthan. This time, his battle is against a man who is worshipped like a demi-god—Dada Bhai, whose real name is Manohar Sarang, portrayed compellingly by Riteish Deshmukh. Dada Bhai has built a mass following, thanks to his modest beginnings as a cobbler and his tireless work for the welfare of the underprivileged. Riding on this goodwill, he wins an election and starts a Foundation that not only aids the common man but also gives them job opportunities and dignity through work.

What elevates Dada Bhai’s appeal even more is his reverence for his mother, Amma, played by Supriya Pathak Kapur. His devotion to her is profound—“worshipping whose feet are more important than any deity for him.” This bond cements his image as a man of virtue in the public eye, making it difficult for anyone to even consider questioning his intentions or actions.

Amey’s support team includes Geeta, portrayed by Shruti Pandey, who has long admired him. His team is fully loyal, committed to his cause and leadership. However, Amey soon begins to notice troubling signs suggesting that Dada Bhai is far from the saintly figure he appears to be. Determined to expose the truth, Amey embarks on a mission to bring him down. But this is no easy feat. The odds are stacked against him—not only does Dada Bhai have the unwavering support of the public, but Amma herself refuses to accept the possibility of her son doing any wrong.

Amey’s task becomes even more difficult when a raid he leads fails to uncover any incriminating evidence. As a result, he is suspended, and his replacement, Lallan, played by Amit Sial, is clearly more accommodating to Dada Bhai’s financial “negotiations.” Yet, Amey does not back down. Despite the suspension, his perseverance leads to significant breakthroughs. His wife, portrayed by Vaani Kapoor, becomes a vital player in these developments, providing support and stepping in when it matters most. Her involvement proves crucial in the unraveling of Dada Bhai’s carefully curated image.

The climax of the film is both powerful and believable, offering a fitting resolution to the story. It confirms that Amey’s unwavering commitment to justice ultimately pays off and that integrity can triumph, even when the system seems rigged.

Director and co-writer Raj Kumar Gupta shows considerable growth since the original Raid. He embraces a more grounded approach to commercial cinema, blending realism with mass appeal. One item number, Nasha, featuring Tamannaah Bhatia, is smartly woven into the narrative and doesn’t feel out of place. Meanwhile, the energetic Money Money is creatively used during the end credits. The script, written by Gupta along with Ritesh Shah (who also worked on the first film), Jaideep Yadav, Karan Vyas, and Akshat Tiwari, is sharp, suspenseful, and filled with unexpected turns. Throughout its 139-minute runtime, there is not a single dull moment.

Though the family scenes in the movie are limited and somewhat predictable, they add a natural layer to the story. The characters are well-developed and resonate with authenticity. One particularly engaging subplot involves Tauji, played by Saurabh Shukla, Amey’s earlier adversary from Raid (2018). Still imprisoned after Amey’s earlier crackdown on him, Tauji watches Amey’s latest mission with reluctant respect and a sense of amusement. His character adds depth to the narrative and ties the sequel back to the original film in a meaningful way.

Performances across the board are robust and elevate the film. Ajay Devgn is superb as Amey. His expressions convey volumes, and his powerful delivery anchors the film. However, there are a few moments where his diction slips into a gruff tone that can be hard to hear clearly. Vaani Kapoor fits seamlessly into the role of Malini. She embodies the character’s blend of ardency and compassion, and her portrayal arguably surpasses the actress who played the role in the original film. “She looks more like the character she is supposed to be: ardent and yet caring.”

Riteish Deshmukh is exceptional as Dada Bhai. His performance is commanding, adding credibility to a character who walks a fine line between public hero and manipulative fraud. His previous portrayals of grey and negative characters have been impressive, and this role continues that trend. Supriya Pathak Kapur as Amma brings gravitas and warmth to her role, while Amit Sial’s portrayal of the easily corruptible Lallan is both convincing and infuriating. Saurabh Shukla is once again brilliant as Tauji, maintaining his unique balance of menace and humor.

Shruti Pandey brings energy and depth to the role of Geeta, and the chubby member of Amey’s team adds an extra touch of charm and credibility to the group dynamics. Among the experienced cast, Rajat Kapoor plays Amey’s boss with quiet authority, Govind Namdeo is effective as the man approached for a bribe, and Brijendra Kala and Mukesh Tiwari shine in their smaller but impactful roles.

Technically, the film is top-tier. Sudhir K. Chaudhary’s cinematography captures the mood and tension beautifully, adding texture and polish to the storytelling. The background score by Amit Trivedi enhances the overall tone and elevates key moments with precision.

In a rare case for sequels, Raid 2 not only lives up to its predecessor but surpasses it in many respects. The narrative is more layered, the stakes higher, and the execution more mature. The direction, writing, performances, and technical craftsmanship come together to deliver a gripping and satisfying cinematic experience.

Raid 2 is a film that grips from start to finish, combining suspense, drama, and a hard-hitting message about corruption and justice. For those who enjoyed the first installment, this one is even better. And for new viewers, it stands strong on its own as a high-stakes thriller that never loses its emotional core.

“This one’s not to be missed.”

**Rating: **1/2

T-Series Films’ and Panorama Studios’ Raid 2

Produced by: Bhushan Kumar, Krishan Kumar, Kumar Mangat Pathak & Abhishek Pathak

Directed by: Raj Kumar Gupta

Written by: Ritesh Shah, Raj Kumar Gupta, Jaideep Yadav, Karan Vyas & Akshat Tiwari

Music: Amit Trivedi, White Noise Collective (Sachin-Jigar), Yo Yo Honey Singh, Rochak Kohli (with Nusrat Fateh Ali Khan) & Sachet-Parampara, with original songs by Laxmikant-Pyarelal and Bappi Lahiri

Starring: Ajay Devgn, Riteish Deshmukh, Vaani Kapoor, Amit Sial, Saurabh Shukla, Supriya Pathak Kapur, Rajat Kapur, Brijendra Kala, Shruti Pandey, Mukesh Tiwari, Govind Namdeo

Special Appearances: Yo Yo Honey Singh, Jacqueline Fernandez, Tamannaah Bhatia

Deepika Padukone recently opened up about her debut in the Hindi film industry and revealed that she never experienced the feeling of being an outsider, largely due to the support she received from director Farah Khan. She made these comments at the WAVES 2025 event held in Mumbai, where she joined superstar Shah Rukh Khan in a session titled The Journey, moderated by filmmaker Karan Johar.

During the session, Karan Johar brought up the ongoing debate about insiders versus outsiders in Bollywood, a topic that continues to spark discussions within the industry and among fans. When asked for her thoughts on the matter, Deepika reflected on her own experience entering Bollywood back in 2007 with the film Om Shanti Om, which was directed by Farah Khan and starred Shah Rukh Khan.

“These are terms that we seem to be discussing now, insider-outsider,” Deepika said. “When I began, it was just a new world. I was a 16-17 year old girl, came from Bangalore, and Farah Khan showed interest in casting me in a movie.”

At the time, Deepika was transitioning between Bangalore and Mumbai and was relatively new to the film world, having built a name for herself as a successful model. She recalled her early interactions with Farah Khan, including a key audition and a memorable meeting.

“She did an audition. I remember doing a meeting with her once. She said, I wanted to meet Shah Rukh once. He was shooting for Chakde in Australia at the time. She said once he’s back, we’ll do a meeting. That was it,” Deepika shared.

According to Deepika, her career in Bollywood began quite naturally. She didn’t overthink her entry into films or view it through the lens of being an outsider breaking into a closed industry. Instead, she focused on the work and let her passion and determination guide her path.

“For me, it just happened because I was a model before that. They’d seen some of my work. But I never felt like I was an outsider trying to make my place in a new industry. I had the dedication, I had the passion, I had the determination, the hard work. Those were the things in my control. And those were the things that I applied to what I was passionate about,” she said.

Her debut in Om Shanti Om turned out to be a massive success, instantly making her a household name across India. The film was not only a box-office hit but also marked the beginning of one of the most successful acting careers in modern Hindi cinema. Deepika’s performance received critical acclaim, and she has since gone on to become one of the most respected and versatile actors in the industry.

Shah Rukh Khan, who co-starred with Deepika in the film and played a pivotal role in her introduction to Bollywood audiences, also participated in the session and shared his own perspective on entering the film industry. Like Deepika, Shah Rukh did not come from a film family and had to carve his own path in the entertainment world.

He spoke candidly about his early days in Mumbai and how he viewed the film industry not as something to infiltrate, but as a place where he naturally belonged.

“Jab main yahan (Mumbai) aaya tha, I never thought ki main outsider hoon iss liye main iss duniya ka hissa nahi ban sakta… I believed this is my world… Mujhe laga yeh duniya meri hai… yeh jagah meri hai,” Shah Rukh said.

This mindset, Shah Rukh implied, played a key role in helping him overcome any potential barriers or insecurities about not having connections within the film industry. His words echoed Deepika’s sentiments about focusing on what is in one’s control — hard work, belief, and determination.

Their joint appearance at the event provided a unique opportunity for fans and industry professionals to hear firsthand how two of the biggest stars in Bollywood navigated the beginning of their careers without industry backing. Both emphasized how their outlook and dedication shaped their journeys, rather than focusing on whether they were insiders or outsiders.

While the insider-outsider debate remains a topic of frequent discussion in Bollywood, especially following controversies in recent years, Deepika and Shah Rukh’s comments offered a refreshing perspective. Rather than blaming or critiquing the system, they highlighted the importance of personal drive and the support of mentors who believed in their potential.

Farah Khan, who played a pivotal role in launching Deepika’s film career, was praised indirectly through Deepika’s words. By showing confidence in a young model with no film experience, Farah not only broke conventional casting norms but also gave Bollywood one of its most beloved leading ladies.

Deepika’s experience stands out in the current climate where many newcomers voice concerns about being sidelined due to lack of connections. Her story reflects that sometimes, the right opportunities combined with hard work and belief in oneself can lead to extraordinary outcomes.

It’s also worth noting that her collaboration with Shah Rukh Khan didn’t end with Om Shanti Om. The two have worked together in several hit films since then, creating a successful on-screen partnership that audiences continue to admire. Their mutual respect and shared beginnings as outsiders-turned-insiders have become a defining part of their journeys in Bollywood.

Their appearance at WAVES 2025 wasn’t just a nostalgic look back at their debut days. It also served as an inspiring moment for aspiring actors and artists who might be uncertain about entering the film industry without backing. By sharing their stories, both Deepika and Shah Rukh reinforced the idea that Bollywood, while competitive and at times insular, can still be a place of opportunity for those who are persistent, passionate, and prepared.

Deepika’s candid reflection and Shah Rukh’s optimistic philosophy both pointed toward a central message: one’s background doesn’t have to dictate one’s future in Bollywood. What truly matters is what you bring to the table — your work ethic, your passion, and your belief that you belong.

Their conversation with Karan Johar at WAVES 2025 added a meaningful chapter to the insider-outsider debate, not by taking sides, but by offering real-life experiences that show how success can emerge from authenticity, effort, and the right guidance.

Set in the serene hill town of Ranni in Pathanamthitta, Thudarum tells the deeply personal and moving story of Shanmugham, endearingly known as “Benz.” He is a humble taxi driver whose most treasured possession is his vintage Mark-I Ambassador car. His quiet and simple life takes a sharp turn when corrupt police officers unjustly seize his beloved car under fabricated drug charges. What follows is an emotional and determined battle by Shanmugham to reclaim his dignity and seek justice in a world that seems increasingly indifferent.

Director Tharun Moorthy brings this poignant story to life in Thudarum, skillfully weaving together elements of personal hardship with a broader social message. The film centers on the strength and resilience of an ordinary man who refuses to back down when wronged. Through Shanmugham’s struggle, Moorthy reflects on the larger flaws within the system while staying grounded in the emotional truth of one individual’s journey. His storytelling touches on themes that are both deeply personal and widely relatable.

The film begins on a gentle, even playful note, marked by a series of nostalgic references to Mohanlal’s earlier films and subtle nods to his iconic public image. These moments are never overwhelming and are handled with a light touch, ensuring that the integrity of Shanmugham’s character remains intact. This initial lightheartedness gives the audience space to connect with the protagonist, making his later challenges feel all the more real. The pacing is measured and, at times, slow — which allows the characters to breathe and the story to develop organically, though it occasionally tests the viewer’s patience.

For the attentive audience, early scenes plant clues that slowly unravel the larger mystery. However, due to the film’s understated approach, certain elements of the plot may appear less fleshed out than others. The story takes a sharper turn with the arrival of SI Benny, played by Binu Pappu, and CI George Mathan, portrayed by Prakash Varma. With their entry, the narrative shifts into thriller territory, as the tension starts to build steadily with each passing scene.

Mohanlal delivers a remarkable and heartfelt performance as Shanmugham. He embodies the character with genuine emotion and quiet strength, transforming him from a victim into a symbol of resistance. His talent is most visible in the subtleties — a quiet sigh, a hesitant glance, or a thoughtful pause speaks volumes. While some may be tempted to compare this role to his past performances in Bhramaram or Drishyam, Shanmugham stands apart. As a character, he brings something fresh and uniquely understated to Mohanlal’s filmography. The actor still delivers a few crowd-pleasing moments that feel entirely earned and never forced. As the review rightly notes, “Mohanlal’s mastery lies in his ability to convey entire emotional arcs through the simplest of gestures — a sigh, a glance, a pause.”

The return of Shobana to the big screen after over a decade is another high point. She plays Lalitha, Shanmugham’s wife, and her performance is both grounded and compelling. The chemistry between Mohanlal and Shobana brings warmth and authenticity to their relationship, making it easy for the audience to invest emotionally in their shared journey. Their scenes together have a lived-in feel, adding depth to the film’s emotional core.

The supporting cast also delivers consistently strong performances. Prakash Varma, in his debut as CI George Mathan, creates a striking antagonist — a mix of intimidation and manipulation. His portrayal anchors the film’s conflict with a sense of real danger. “Prakash Varma plays CI George Mathan with a compelling mix of menace and calculation,” notes the original review. Binu Pappu as SI Benny adds another layer of intensity, contributing significantly to the film’s suspenseful edge.

Younger actors such as Farhaan Faasil, Thomas Mathew, and Aarsha Baiju help round out the ensemble, each playing their part in the unfolding drama. Additionally, the film features a handful of clever cameos — some that advance the plot and at least one that acts as a playful misdirect for viewers.

Visually, Thudarum is a treat. Cinematographer Shaji Kumar captures the lush, natural beauty of Kerala with finesse, creating a visual contrast between the vast, open landscapes and the psychological confinement Shanmugham experiences. The imagery not only supports the story but deepens it. Water, and specifically rain, becomes a recurring visual theme. It serves a dual purpose, symbolizing both the washing away of injustice and the emotional release that follows hardship. As the review notes, “Water, especially rain, plays a poetic central motif at different stages of the film’s narrative where it stands for both retribution and relief.”

Jakes Bejoy’s music complements the film’s tone perfectly. His score is emotive without being overbearing, elevating key moments while respecting the quiet strength of the narrative. The music subtly underscores the film’s emotional peaks, enhancing its power without distracting from it.  Jakes Bejoy’s music score is both stirring and restrained, heightening the emotional pulse of the film without ever overpowering the narrative.

Despite its many strengths, Thudarum is not without its challenges. Its pacing and dedication to subtlety may not appeal to every viewer. The film takes its time unfolding, and those expecting more traditional dramatic climaxes might feel unsatisfied. Emotional payoffs are few, and the film’s deliberate pace may cause some to lose engagement. A slightly more urgent edit, particularly in the second half, could have made the narrative more gripping overall. As the review states, “A tighter edit and slightly more urgency in the second half could have strengthened the overall impact.”

Nevertheless, Thudarum is a powerful and rewarding cinematic experience for those who appreciate slow-burning dramas with emotional depth and thematic richness. It offers a thoughtful portrait of one man’s resilience against institutional injustice, driven by love, pride, and a longing for dignity. The film stands out not only for its performances but for the authenticity of its storytelling and the grace with which it handles its subject matter.

In the end, Thudarum leaves a lasting impression. It invites the audience to sit with the quiet moments, to feel the weight of injustice, and to witness the strength of a man who simply refuses to be broken. Ultimately, Thudarum is a well-made drama that rewards viewers who appreciate slow-burn storytelling.

BOTTOM LINE No Drishyam, But Fine

RATING 2.5/5

CENSOR U/A, 2h 43m

What is the Film About?

Thudarum revolves around Shanmugam, also known as Benz, played by Mohanlal, and his family. Once a stuntman, Benz now earns a living driving an old Ambassador car. His simple life takes a turn when he travels to Chennai for the funeral of his master. While there, the local police seize his car, leading Benz to plead with the officers to release it. Whether or not Benz succeeds, and the unexpected twists that unfold during his conflict with the authorities, form the core of the story. The movie captures the tussle between an ordinary man and the system with some surprising developments along the way.

Performances

After portraying a larger-than-life role in the action-packed Empuraan, Mohanlal steps back into a grounded, lower middle-class setting. Here, he effortlessly embodies a common man with a cheerful family life. The charm, as with any Mohanlal performance, lies in the film’s world and the subtle quirks he brings to his character. His performance shines especially during fight sequences, where his past as a stuntman is reflected in the way he moves. His approach to drama and emotional scenes carries his trademark intensity. Initially, Benz is depicted as a talkative character, but as the narrative progresses, he becomes increasingly serious and quiet, with a growing sense of frustration and anger. Mohanlal portrays these transitions seamlessly, showcasing his incredible acting skills. As noted, “Mohanlal is a brilliant actor that needs no special mention,” but Thudarum offers a refreshing reminder of his depth as an actor even within a commercial setup.

Shobhana, meanwhile, brings her usual elegance to her role, despite having limited screen time. She delivers her few scenes effortlessly, proving once again that she can command attention with minimal effort, as described: “Shobhana has a few moments and she goes through them without breaking any sweat.”

Analysis

Directed by Tharun Moorty, Thudarum leans heavily into drama, incorporating action primarily towards the climax. For seasoned viewers of Malayalam cinema, the slow start and deliberate pacing of Thudarum will not be surprising. However, for those less accustomed to this style, the film’s first half may feel tedious and slow. The narrative invests a significant amount of time in world-building and introducing characters before diving into the main plot, which only gains momentum around the pre-interval and interval points. The real shift occurs with the arrival of George, whose interactions with Benz re-energize the story. Although the interval block is not particularly striking, it signals that the movie is finally picking up pace.

Post-intermission, the emotional drama blends well with the intrigue, though the suspense itself does not stay gripping for long. Still, the emotional weight, carried largely by Mohanlal’s performance, sustains the film’s momentum. As noted, “The drama, thanks to brilliant Mohanlal, works out,” even if the story itself follows familiar and predictable patterns.

George’s character introduces a refreshing element to the film, providing a strong adversary for Benz. The intense emotional confrontation between George and Benz, combined with the portrayal of cruelty in George’s character, keeps the final half-hour engaging. The action sequences sprinkled throughout the climax are well-executed, and although the ending is predictable, it delivers a satisfying conclusion.

Ultimately, as the review succinctly puts it, “Overall, Thudarum is no Drishyam. What it is is a revenge drama and it goes about it satisfactorily.” The film’s blend of emotion and action in its final hour makes it a decent, if not groundbreaking, one-time watch.

Performances by Other Actors

As is common in Malayalam cinema, Thudarum features a large ensemble cast that helps create a vivid and lived-in world. Among them, Prakash Varma stands out with a performance that nearly steals the spotlight from Mohanlal. Playing CI George, Varma impresses with his debut performance. The review states, “Prakash Varma is excellent. Leave aside the continuous grin, the evilness he brings to the role with going overboard is superb.” His dynamic with Mohanlal elevates several key scenes, adding intensity and tension that keep viewers engaged.

Music and Other Departments

Jakes Bejoy, a familiar name in Malayalam film music, composed the soundtrack and background score for Thudarum. While the songs themselves are forgettable, and even more so due to the “terrible dubbing” in Telugu, the background music does a competent job of enhancing the mood. However, there are moments when the background score overwhelms the dialogues, disrupting the viewing experience.

The cinematography captures the hilly landscapes and rainy ambiance beautifully, providing a natural and picturesque backdrop that complements the realistic tone of the film. Editing, on the other hand, could have been tighter, especially to improve pacing for non-Malayalam speaking audiences who may find the lengthy build-up taxing. The action sequences are choreographed well, adding to the movie’s emotional punch. Unfortunately, the Telugu dubbing quality detracts from the overall experience, as highlighted: “Coming to the dubbing, it’s bad in Telugu.”

Highlights

The main highlights of Thudarum include Mohanlal’s powerful performance, Prakash Varma’s excellent portrayal of CI George, the intriguing pre-interval and interval sequences, and the emotional action-packed final hour.

Drawbacks

The film’s primary drawbacks are its sluggish first half, moments of excessive lag, and a story that ultimately sticks to a “regular routine revenge drama” formula without offering major surprises.

Did I Enjoy It?

Yes

Will You Recommend It?

Yes, but only “with keeping the right expectations.”

Thudarum stands out as one of the most highly awaited Malayalam films of the year, promising audiences a Mohanlal portrayal of a common man, a refreshing shift after many larger-than-life characters he has embodied recently. Although it might sound routine, for those familiar with Mohanlal’s illustrious career, the significance of this film is immense. Rarely do viewers get to witness Mohanlal stepping into the shoes of vulnerable, ordinary characters, as he typically dominates the screen in roles of powerful crime bosses or near-invincible figures.

The collaboration between Mohanlal and director Tharun Murthy, who previously helmed successful films like Operation Java (2021) and Saudi Vellakka (2022), further heightened expectations for a cinematic offering that would be more stylistically rigorous than the superstar’s latest ventures. In this respect, Thudarum not only fulfills its promises but also presents an engaging family drama layered with suspense and emotional depth.

While the film doesn’t chart any entirely new territory, it cleverly reworks familiar family story tropes into a hybrid genre piece. In Thudarum, Mohanlal portrays Benz Shanmugham, a former stuntman who now leads a peaceful life with his family in the rural backdrop of Pathanamthitta. As a filmmaker, Tharun Murthy thrives on capturing the minutiae of everyday life. He meticulously constructs the daily rhythms of his seemingly unremarkable protagonist, with moments of transcendence subtly conveyed through Shanmugham’s small yet intimate family interactions.

Positioning Mohanlal at the heart of an ensemble narrative, Thudarum unfolds across different tonal and narrative terrains. The storyline takes a turn when a police officer complicates Shanmugham’s life by confiscating his beloved Ambassador car, an object far more valuable to him than its monetary worth. This loss sets off a series of bizarre events that disrupt his previously mundane existence, compelling him to embark on a redemptive journey.

Given the intricately woven nature of the screenplay, revealing too much would risk spoiling the film’s most delightful surprises. The narrative relies heavily on the audience’s understanding of Shanmugham’s softer, more human side, which makes the sudden transformation in his character all the more gripping in the film’s second half.

Mohanlal shares the screen with Shobana, reuniting with her after what feels like a considerable hiatus. Their onscreen chemistry captures the essence of a long-term relationship, communicated through “glances, eye rolls and little secrets that come up a lifetime of marriage.”

Cinematographer Shaji Kumar, who is typically associated with grand commercial ventures, brings a refreshing approach to the visual language of Thudarum. His work creates a palpable sense of intimacy and interconnectedness among the characters without resorting to overly sentimental or theatrical techniques. Tharun Murthy’s observational filmmaking style finds a perfect match in Shaji Kumar’s naturalistic, “flatly-lit frames that pick up the little details without being stagey.”

Writers Tharun Murthy and K R Sunil resist the urge to overload the narrative with exposition or intricate plotting in an attempt to seem intellectually superior. Instead, they focus on slowly unveiling the immediate environment surrounding Shanmugham, thereby painting a rich emotional backdrop and revealing the fundamental conflict at the story’s core.

The music by Jakes Bejoy complements the film’s constantly shifting tone, seamlessly blending into the narrative and maintaining suspense throughout. “The score and songs fit in nicely with the everyday textures of this self-contained story world,” allowing the soundtrack to enrich the atmosphere without ever overwhelming the story.

Although supporting actors like Maniyanpilla Raju, Irshad, Farhaan Faasil, and Binu Pappu have limited screen time, their characters play crucial roles in shaping Shanmugham’s journey. The supporting performances “fall smoothly within the umbrella of Tharun’s sporadic vision of a small town tale with their character quirks and personalities,” ensuring that every minor figure contributes meaningfully to the overall narrative fabric.

Visual motifs are used judiciously to isolate Shanmugham, highlighting his growing sense of entrapment and helplessness as the film progresses. This visual storytelling approach provides Mohanlal with a platform to delve into the more intense emotional territories, spaces that his recent roles have rarely allowed him to explore.

Mohanlal’s performance demonstrates an extraordinary synergy with the material, as he skillfully balances restraint and emotional explosiveness. Rather than dominating the narrative through sheer star power, he embodies a man consumed by revelations and “ever-changing moral conflicts.” His portrayal feels deeply lived-in, allowing the audience to experience the character’s internal struggles firsthand.

Director Tharun Moorthy succeeds in delivering a low-key family drama that simultaneously serves as a character study of a man at odds with his own identity and principles. It’s a significant change of pace for Mohanlal, providing audiences the rare pleasure of seeing him fully inhabit the role of an everyday man, complete with all the emotional complexities that entails. The performance is grounded and consistent, breathing life into a character that might have easily been overshadowed by lesser writing or direction.

The writing, while rooted in a fairly conventional setting, is clever enough to sustain both engagement and emotional investment throughout the runtime. By maintaining a sharp focus on character development and interpersonal dynamics, Thudarum transforms what could have been a simple story into a richly textured cinematic experience.

Ultimately, Thudarum stands as “a masterpiece for adults, a serious yet self-aware piece of cinema that has something for everybody.” It is a film that respects its audience’s intelligence, offering an emotionally resonant, thought-provoking drama without the crutch of unnecessary spectacle or melodrama.

Through carefully crafted storytelling, strong performances, and an underlying emotional sincerity, Thudarum not only meets the high expectations surrounding it but also carves a unique place for itself among the best films of the year. For Mohanlal fans and general moviegoers alike, it is a rare treat that reminds everyone why he remains one of Indian cinema’s most beloved and enduring stars.

Malayalam cinema has long been known for its rich and diverse storytelling, but it also carries a dynamic tradition of “fanboy films”—mass entertainers centered around beloved stars like Mohanlal and Mammootty. These movies are engineered to thrill their fanbases, offering bombastic action sequences, striking visuals, punchy dialogues, and characters that tower over the screen. Their core aim is to evoke whistles, applause, and cheers from die-hard followers. However, this genre treads a very thin line between success and failure, as the emphasis on spectacle often overshadows substance.

The fanboy genre often sacrifices deep, intricate storytelling in favor of visual dazzle and larger-than-life depictions of its lead actors. While this formula can electrify theaters when executed well, it doesn’t always hit the mark. Films like ‘L2: Empuraan’ (2025) showcase how to successfully blend style and scope, achieving a polished and ambitious cinematic result. On the flip side, others like ‘Aaraattu’ (2022) serve as cautionary tales—projects that falter due to poorly executed narratives or misaligned viewer expectations.

The high stakes involved in such films lie in their dependence on star power. When a movie leans too heavily on its lead actor’s persona and neglects the broader cinematic experience, it risks alienating the general audience. While devoted fans may be thrilled, a wider demographic might find the film lacking in emotional depth or storytelling coherence. The director and scriptwriter are thus tasked with a difficult balancing act: incorporating fan service while still delivering compelling content that resonates with all viewers.

Adding too many elements to pander exclusively to fans or overloading the film with celebratory moments can actually backfire. When fan service overwhelms the narrative structure, it disrupts the balance necessary for the film to succeed on a larger scale. “Fanboy films,” therefore, represent a cinematic gamble, often falling somewhere between soaring success and major disappointment.

A perfect example of this tightrope walk is the multi-starrer film ‘Twenty-Twenty.’ Though it primarily catered to fans by assembling some of the biggest names in the industry, it managed to strike a balance with its moderately engaging story. While the content may not have been extraordinary, it had enough merit to keep general audiences entertained. The film exemplifies how even a fan-centric project can do well if it pays some attention to story and structure.

On the other hand, some movies aim for both fan delight and narrative quality but still manage to stand apart. Films like ‘Harikrishnans’ achieved this dual goal by providing both the pleasure of seeing two leading men—Mohanlal and Mammootty—together and delivering a story that appealed to wider sensibilities. When done right, such fan-driven films can truly captivate a broad spectrum of viewers.

Among underwhelming efforts in this category, ‘Aaraattu’ remains one of the most frequently cited examples. Starring Mohanlal, the film generated significant buzz before release but ended up disappointing many. Director B. Unnikrishnan has been open about the film’s failure and does not shy away from taking responsibility. Speaking to Vishal Menon, Unnikrishnan said, “I take full responsibility for the movie’s failure.”

In a separate interview, Unnikrishnan elaborated that the film was actually intended as a spoof, a satirical nod to Mohanlal’s past roles and legendary dialogues. Unfortunately, audiences didn’t perceive it in that light, and the intended humor failed to translate. He admitted, “Mistakes are part of the journey—we grow through them. I’m not affected by criticism or social media chatter. However, I do believe that criticism should be expressed with a sense of democracy and basic courtesy. Just because I respond to criticism doesn’t make me some kind of hero.”

This kind of honest reflection is rare, especially in an industry where public image often overshadows introspection. Unnikrishnan’s remarks also highlight another essential aspect of the fanboy genre: how vital it is for the creators to understand the pulse of the audience. Misjudging audience sentiment or tone can have serious consequences, as seen in ‘Aaraattu.’

Despite occasional missteps, there are stellar examples that prove a fanboy film can be both a commercial and critical success. One such example is Prithviraj Sukumaran’s directorial debut, ‘Lucifer.’ Unlike most fan-centric films, ‘Lucifer’ chose not to oversaturate the screen with its leading man, Mohanlal. Instead, it offered a well-crafted story written by Murali Gopy, filled with suspense, layered characters, and sharp dialogue. Mohanlal’s limited screen time became an asset, allowing for a slow build-up of his character’s mythos rather than relying on constant presence.

Prithviraj’s approach in ‘Lucifer’ was widely appreciated because it didn’t treat fan service as a crutch but rather as a tool to elevate the narrative. By blending style with substance, the film created a blueprint for how to approach fanboy cinema in a more mature and sophisticated manner. The movie wasn’t just a visual treat; it was a complete package that resonated across audiences. As Prithviraj himself has stated, “Nobody becomes a star. You can only aspire to be a good actor.”

His remark underscores the idea that true stardom isn’t simply about playing to fanfare, but about embracing quality, craftsmanship, and storytelling. It’s a lesson worth remembering for filmmakers aiming to make fan-oriented cinema. Striking a chord with fans doesn’t require abandoning artistic sensibilities; rather, it calls for integrating them meaningfully into the narrative framework.

Malayalam cinema’s flirtation with fanboy films is likely to continue, especially given the passionate following that stars like Mohanlal and Mammootty enjoy. These movies offer a unique blend of nostalgia, heroism, and excitement that few other genres can match. But as audiences evolve and become more discerning, the demand for thoughtful storytelling alongside star-driven moments is only going to grow.

In the end, the most successful fanboy films are those that not only respect the aura of the star but also honor the intelligence of the audience. When done right, they become memorable celebrations of cinema. When done wrong, they serve as reminders that even the brightest stars can’t carry a film without a solid foundation.

As the Vatican readies itself for the election of a new pope, people worldwide are turning their attention to a cinematic portrayal of the process—by streaming the film Conclave. The movie, directed by Edward Berger and winner of this year’s Oscar for Best Adapted Screenplay, offers an intimate look into the Vatican’s secretive papal election rituals. Following the death of Pope Francis on Monday, the film witnessed a significant spike in viewership, according to entertainment data analytics firm Luminate.

Set against the backdrop of the Vatican, Conclave dives into the intricacies of the pope selection process, a ritual steeped in centuries-old tradition. Berger’s film takes creative liberties while staying largely faithful to the actual procedures, and features a power struggle among cardinals portrayed by renowned actors Ralph Fiennes, Stanley Tucci, and John Lithgow. The movie is distributed by Focus Features, which is owned by NBC News’ parent company, Comcast.

Since its initial release in October, the movie has amassed a devoted fan following online. Social media platforms have been flooded with viral memes and creative fan edits comparing the film to mainstream pop culture icons like The Real Housewives and Mean Girls. As tributes to Pope Francis continued to pour in from around the world, a growing number of both longtime fans and new viewers turned to Conclave to gain insights into what happens behind Vatican walls during such pivotal moments.

From Sunday to Monday, Luminate reported that viewership of Conclave surged by a staggering 283 percent. On Sunday, the film logged an average of 1.8 million minutes viewed. That figure leaped to 6.9 million minutes by Monday. Luminate compiles data from major streaming platforms including Netflix, Peacock, Paramount+, Disney+, and Max.

Despite the film’s dramatic rise in popularity, Focus Features did not respond to a request for comment on the recent streaming numbers.

On social media, many pointed out the uncanny parallels between the film’s storyline and the actual events surrounding the papal succession. The timing of Pope Francis’ death and the content of Conclave seemed to resonate with global audiences, sparking renewed discussion about the themes explored in the movie.

Among the voices chiming in was the administrator behind “Pope Crave,” a fan account on X dedicated entirely to Conclave. The person behind the account spoke with NBC News via email and requested anonymity, asking to be referred to only by their username due to the need for “separation” between their professional career and their “fandom extracurriculars.” Pope Crave, who commands a following of 16,000 on X, offered insight into the film’s relevance during a time of collective mourning and transition.

“I think there’s a lot of grief and pain attached to current events, and being able to use Conclave memes as a common/shared language of community offers some brevity and humor to a clandestine process and historical event that will significantly alter the trajectory of many peoples’ lives,” Pope Crave said.

When asked about the religious demographics of the film’s fan base, Pope Crave noted, “I cannot speak for the religious breakdown of Conclave fans, but it doesn’t shock me that Catholic fans of the film would be engaged in the actual papal conclave outcomes. And for the non-Catholic Conclave fans, I would hypothesize there’s something to be said about the abrupt relevance and sudden application of their film knowledge and fandom enthusiasm to a seismically important current global event that holds importance to over 1.25 billion practitioners (and even more non-believers).”

Michael Moreland, a professor specializing in law and religion at Villanova University, said the movie’s popularity highlights the enduring fascination with the Catholic Church’s ancient customs, even in a largely secular world. The papal conclave process involves cardinals from around the world, all under the age of 80, who are sworn to secrecy. They gather in the Sistine Chapel and cast paper ballots until one among them secures a two-thirds majority to become the next pope.

“All the charisma and the mystery around Catholicism and the ways in which these men in the College of Cardinals go about assembling and deliberating and voting in the secret process that no one except one of them has seen,” Moreland explained. “All of that is very fascinating.”

Moreland also noted that Conclave provides a fairly accurate portrayal of how potential papal candidates gain and lose traction during the voting rounds. However, he was critical of the film’s emphasis on political ideology, stating that the movie sometimes reduces the election process to a simplistic binary of left versus right.

“The significance of the theological and spiritual aspects of Catholicism and this process of electing a pope was kind of reduced into partisan politics,” Moreland remarked.

Coincidentally, Amazon Prime made Conclave available to stream on Tuesday, though Amazon clarified that the release was pre-scheduled and not timed with the pope’s passing. The availability of the film on Amazon added to its soaring popularity. By the end of the day Tuesday, the film had shattered its previous viewership records, with a reported 18.3 million views across all streaming services. This marked a massive 3,200 percent increase in week-over-week viewership, according to Luminate’s updated data.

Although many cast members from Conclave have yet to issue public statements regarding the death of Pope Francis, they previously spoke about the film’s topical relevance. At the Screen Actors Guild Awards in February, during a period when Pope Francis was critically ill, the cast commented on how current events had increased the film’s impact.

“The film has ended up extremely timely … and it’s about the social organism electing a leader,” said John Lithgow, who plays Cardinal Tremblay, one of the leading contenders for the papacy in the film.

“You cannot help seeing Conclave and not thinking what happens when different tribes quarrel with each other trying to decide on who is their leader,” he added. “That’s one big reason why people are paying attention to Conclave, beyond the fact that it’s simply a beautiful film that you just don’t see storytelling on film like that much anymore.”

The Vatican announced that Pope Francis’ funeral will be held at 10 a.m. local time (4 a.m. Eastern Time) on Saturday in St. Peter’s Square, in front of the iconic St. Peter’s Basilica. The conclave to elect his successor will follow the funeral service.

Cannes, the iconic French Riviera destination, is where cinematic dreams come alive in a breathtaking display of films, glamour, celebration, and opportunity. The Cannes Film Festival, since its inception in 1946, has evolved into a dazzling spectacle of international cinema and culture. Over the decades, it has also become a vibrant reflection of India’s growing soft power and cultural influence on the global stage. With his extensive experience at the festival, Bhuvan Lall captures this essence in his new book Namaste Cannes, offering readers an intimate journey through the history and grandeur of the event while highlighting India’s significant role in this global cinematic celebration.

Through Namaste Cannes, Lall offers a front-row seat to the most celebrated film festival in the world. He transports readers to the heart of Cannes, where the Indian film industry has not only participated but thrived—bringing its rich storytelling traditions, vibrant performances, and technical excellence to a global audience. This book is more than just a chronicle; it is a tribute to the filmmakers, artists, and visionaries who have carried India’s cinematic legacy to new heights at Cannes.

With first-hand insights and stories gathered over many years, Lall shares an insider’s perspective on India’s evolving presence at the festival. He reflects on the early milestones and pivotal moments when Indian cinema received worldwide recognition, recounting instances when Indian films earned standing ovations and prestigious awards on the international stage. These moments not only brought glory to the Indian film industry but also redefined the global perception of Indian storytelling and creativity.

One of the key themes of Namaste Cannes is the homage it pays to legendary filmmaker Satyajit Ray. The book honors Ray’s enduring legacy and the foundation he laid for Indian cinema’s global success. His pioneering work continues to influence filmmakers around the world, and Namaste Cannes pays respect to this legacy while also spotlighting the contemporary visionaries who have followed in his footsteps. These trailblazers have pushed creative boundaries and opened new doors for Indian cinema in international markets.

The book also focuses on the behind-the-scenes figures—producers and distributors—who have been instrumental in expanding the reach of Indian films across the globe. At Cannes’ bustling Marché du Film, these professionals have forged important connections, negotiated global deals, and positioned Indian cinema in the global entertainment ecosystem. Their contributions, though often away from the limelight, are crucial in shaping India’s success at Cannes.

In a particularly captivating part of the book, Lall recounts exclusive anecdotes involving Indian film stars who have left a lasting impression at the festival. These stories bring a human element to the narrative, offering readers a glimpse into the real-life experiences of celebrities and their impact on the global audience. From red carpet appearances to emotional reactions from international viewers, these moments reflect the pride and admiration that Indian cinema continues to evoke worldwide.

Through these recollections, Lall taps into a deep sense of patriotism and cultural pride. As Indian films find appreciation on the global stage, the book reminds readers of the powerful role that cinema plays in shaping national identity and projecting it to the world. Indian storytellers are no longer confined by geographical boundaries; their voices are now resonating in theaters, festivals, and living rooms across continents.

As India steps confidently into its next chapter in the global entertainment landscape, Namaste Cannes serves as a source of inspiration. It uplifts aspiring filmmakers, writers, producers, and cinema lovers, encouraging them to dream bigger and believe in the power of their stories. The book not only looks back at the triumphs of the past but also ignites hope for a future where Indian cinema continues to influence and inspire audiences around the world.

“Namaste Cannes inspires optimism and energizes dreamers, storytellers, and achievers,” writes Lall, underscoring the book’s central message of hope and ambition. His passion for cinema and dedication to India’s cultural narrative shine through in every page, offering readers a powerful mix of nostalgia, pride, and aspiration.

The excitement surrounding the book is set to culminate at the 79th edition of the Cannes Film Festival, where a star-studded global launch of Namaste Cannes will take place in the South of France next month. This grand event promises to be a fitting tribute to the themes of the book and the spirit of Indian cinema’s ongoing journey.

“An invitation for the star-studded Global Launch of Namaste Cannes at the 79th Cannes Film Festival in the South of France next month will follow,” announces Lall, hinting at what will surely be one of the major highlights of this year’s festival.

In addition to the upcoming launch, the book will also soon be available for pre-order on Amazon worldwide. Cinema lovers and readers interested in the history of Indian cinema’s international rise will be able to secure their copy and delve into the fascinating narrative crafted by Lall.

“Namaste Cannes will soon be available for pre-order on Amazon worldwide,” he confirms, signaling the book’s broad accessibility to a global audience.

In a warm and personal note, Lall concludes his message by expressing his anticipation of meeting fellow cinema enthusiasts in Cannes, reinforcing the festival’s role as a global gathering of storytellers and dreamers.

“Looking forward to seeing you in Cannes!” he writes, inviting readers to be part of the celebration.

And with a heartfelt salute, he ends on a patriotic note that echoes the spirit of the book and the journey it represents:

“Jai Hind ”

Bhuvan Lall

Through Namaste Cannes, Bhuvan Lall delivers more than just a book—it is a cinematic tribute, a cultural chronicle, and a celebration of India’s artistic triumphs on one of the world’s most prestigious platforms. It reminds us that storytelling knows no borders and that the spirit of cinema can unite hearts across the globe.

Kunchacko Boban is relishing the success of his latest film Officer on Duty, which turned profitable within just three days of its release. This swift success, he believes, marks a pivotal moment in his long and diverse career. Although the actor, known affectionately as Chackochan, has acted in over 100 Malayalam films, he openly admits that he often looks back on his performances thinking he could have done better. However, his portrayal of CI Harishankar in Officer on Duty might be one of the rare instances where he feels a sense of true accomplishment, especially considering the widespread praise he has received for the role.

Reflecting on his approach to acting, Kunchacko Boban shared in an interview with Hindustan Times that continuous growth is a key part of his journey. “I’m constantly learning and honing my craft. You try to take up different movies or different characters which might not be in your league or zone, in which you have to put in extra effort and take risks, both emotionally and physically. I’m still trying to learn the trade, the basics and try out different combinations, different characters and novel ideas which come my way. I’m charged up to work in such exciting movies and willing to support new creators,” he explained.

The actor’s commitment to evolving his artistry has led him to embrace roles outside his comfort zone. He is particularly enthusiastic about venturing into characters that challenge him, not only as a performer but also as a person. According to him, roles like Harishankar are rare but rewarding, and they fuel his desire to explore further in the world of cinema.

Interestingly, despite his popularity in Malayalam cinema, Kunchacko Boban has not ventured into Tamil or Telugu films like many of his peers. When asked why, he offered a compelling explanation. “I think content-wise, the Malayalam film industry is in its golden phase right now. Other industries are actually envying us because of the kind of unique films we have been churning out – be it the quality, theme or story. Our films, even though locally rooted, are going pan-Indian and global because of their content and with OTT coming in, the language barrier is blurred too,” he said.

He added that the Malayalam industry is currently offering him some of the most exciting characters and stories, which leaves him content. However, he is not ruling out opportunities in other languages. “But I am open to other languages, especially Tamil because I want to dub for myself. If an exciting character or movie comes my way in other languages, I will give it a try. I’m waiting for that,” he added with optimism.

Throughout his 27-year journey in the film industry, Kunchacko Boban has showcased his range in a variety of roles. Films like How Old Are You?, Take Off, Traffic, Bougainvillea, Nizhal, Virus, 2018, Nna Thaan Case Kodu, Anjaam Pathiraa, Nayattu, and Ariyippu have each demonstrated different facets of his acting abilities. These performances helped him move away from his earlier ‘chocolate boy’ image and establish himself as a serious, versatile actor. Yet, the journey has not been without its setbacks.

Despite experiencing both success and failure, Chackochan maintains a pragmatic outlook on his career. He believes that mistakes are valuable lessons and that growth comes from perseverance. “Basically, no regrets,” he said when asked about any past disappointments. “I don’t analyse the negative side of my life too much, and I don’t brood over it. I always tried to find positivity in my career – when I was stuck doing formulaic films and characters, I just took a break from cinema and returned to do different kinds of roles.”

He acknowledged that many people question why he didn’t make that shift sooner, but he believes everything happened at the right time. “People ask me now why it took me so long to make that change when I could have done it long ago. But I believe this was the right time to make that attempt – if you fall, just pick yourself up and keep moving. You should always move a step forward, even if you crawl,” he said.

Kunchacko Boban also attributes his journey to a higher power and to the vision of filmmakers who have shaped his path. “I always believe in God’s plan. I’m just a tool in God’s hands and a tool in the hands of great creators in the film world,” he added, underscoring his faith in divine timing and creative collaboration.

The actor’s openness to working with fresh talent has also been a notable part of his evolution. He frequently reiterates his willingness to collaborate with new filmmakers, especially if the script and role are fresh and stimulating. “I’m open to any character, role or movie that can portray me in an unthinkable way and is beyond my imagination. I’m welcoming every director and scriptwriter – experienced or newcomer – to create enticing and exciting roles. I’m waiting for them as an actor,” Kunchacko Boban concluded.

With Officer on Duty reinforcing his credibility and reaffirming his place in the industry, Kunchacko Boban stands at a promising juncture in his career. As he continues to embrace roles that defy typecasting and encourage artistic risks, the actor is more energized than ever to contribute to the evolving narrative of Malayalam cinema. Whether exploring challenging characters, supporting new talent, or venturing into other language films, his journey forward promises to be one of creative exploration and continual reinvention.

Actor Prithviraj Sukumaran has officially started filming his next venture titled ‘Nobody’, which stars Parvathy Thiruvothu and Hakim Shajahan in key roles. The production kicked off with a traditional pooja and switch-on ceremony held at Wellington Island in Ernakulam, marking the formal beginning of the much-anticipated film’s shoot.

The film is directed by Nissam Basheer, a well-regarded name in Malayalam cinema, and is written by Sameer Abdul. Together, they are working to craft what is expected to be a gripping and emotionally rich film. ‘Nobody’ is being jointly bankrolled by Supriya Menon, Mukesh Mehta, and C.V. Sarathi. The movie is being produced under the notable banners of Prithviraj Productions and E4 Experiments, both known for supporting high-quality and innovative Malayalam cinema.

The musical score for ‘Nobody’ is being composed by Harshavardhan Rameshwar, whose previous work includes the widely recognized and intense music in the film ‘Animal’. His involvement is expected to contribute significantly to the emotional depth and dramatic weight of the film, enhancing the overall cinematic experience. With such a strong team in place—both in terms of actors and the technical crew—’Nobody’ is quickly shaping up to be an engaging and distinctive film that could leave a lasting impression on audiences.

While excitement builds around ‘Nobody’, Prithviraj Sukumaran has also been in the news recently due to his other major project, ‘L2: Empuraan’. This film, which he is directing, has sparked some controversy in recent weeks over its portrayal of certain real-life incidents. Even amid the controversy, ‘L2: Empuraan’ remains one of the most eagerly awaited films of the year. The buzz surrounding it only seems to be growing, driven by both curiosity and the high expectations audiences have from Prithviraj’s directorial vision.

In an interview back in March, Prithviraj spoke candidly about the experience of directing while also acting in the same movie—a demanding process that few in the industry undertake. Reflecting on his dual responsibilities for ‘L2: Empuraan’, he shared, “I’ve never really found it to be very challenging. The toughest part is having to stay in costume and makeup while directing, which I don’t usually enjoy. But beyond that, it’s all part of one giant process.” His remarks offer a glimpse into the complexities of multitasking on a film set, but also show his level of comfort and confidence with handling both roles simultaneously.

Despite the inherent difficulties that come with managing both acting and directing, Prithviraj has demonstrated a rare ease in toggling between the two demanding roles. His ability to lead from behind the camera while performing in front of it has only increased the public’s admiration for his talents. This seamless balancing act is one of the key reasons for the growing anticipation surrounding ‘L2: Empuraan’. As someone who has consistently challenged conventional filmmaking boundaries, Prithviraj is increasingly seen as a driving force behind the evolving landscape of Malayalam cinema.

‘Nobody’, meanwhile, presents another opportunity for Prithviraj to showcase his strengths as an actor. Paired with the powerful presence of Parvathy Thiruvothu and the rising popularity of Hakim Shajahan, the cast sets the stage for some powerful performances. The script by Sameer Abdul is expected to delve deep into human emotions, while Nissam Basheer’s direction is likely to bring a nuanced and sensitive touch to the storytelling. The synergy between the script, the direction, and the music could create a potent mix that elevates the film beyond conventional storytelling.

The presence of Supriya Menon as one of the producers under the banner of Prithviraj Productions ensures that the film stays rooted in quality, as the banner has been associated with several critically acclaimed projects in recent years. Collaborating with Mukesh Mehta and C.V. Sarathi of E4 Experiments also brings in an experienced team known for their innovative film choices and production values. Together, the producers are aiming to craft a film that is not only artistically fulfilling but also commercially viable.

Music composer Harshavardhan Rameshwar’s involvement also signals the importance of sound in the film’s overall design. Known for crafting emotionally resonant music, his score for ‘Nobody’ is expected to underline key moments in the narrative and add another layer of engagement for viewers. His previous work in ‘Animal’ was widely praised for its intensity and emotional gravity, and fans will be eager to see how he approaches the tone of ‘Nobody’.

The choice of Wellington Island in Ernakulam as the launch location also hints at the aesthetic the filmmakers are aiming for. The island, known for its scenic beauty and historical significance, could serve as a powerful visual backdrop that adds atmosphere to the unfolding story. The formal pooja and switch-on ceremony held there not only mark the beginning of the shoot but also reflect the respect for tradition that continues to inform many aspects of Indian cinema.

Although the narrative of ‘Nobody’ has been kept under wraps for now, the involvement of a strong creative team and a solid cast suggests that the film will explore themes that are both compelling and relevant. The collaboration between Prithviraj, Parvathy, and Hakim Shajahan hints at a layered and performance-driven film, one that aims to leave a deep impact on the audience.

Meanwhile, Prithviraj’s directorial venture ‘L2: Empuraan’ continues to remain in focus for reasons beyond just the storyline. The recent controversy may have stirred debate, but it has also added to the intrigue. As viewers wait to see how Prithviraj balances his roles in both ‘Nobody’ and ‘L2: Empuraan’, it’s clear that he is positioning himself as one of Malayalam cinema’s most versatile and ambitious talents.

By effortlessly moving between acting, directing, and producing, Prithviraj is not just delivering quality films—he is also helping redefine the boundaries of Malayalam cinema. Whether it is through a deeply emotional performance in ‘Nobody’ or a complex directorial undertaking like ‘L2: Empuraan’, he is consistently pushing the envelope. His dedication to storytelling and commitment to cinematic excellence ensure that his projects remain among the most talked-about and eagerly awaited releases of the year.

With both ‘Nobody’ and ‘L2: Empuraan’ in the pipeline, Prithviraj Sukumaran continues to prove that he is a powerhouse of talent whose work is worth watching. Audiences can expect nothing short of brilliance as he takes on new challenges and raises the bar for Malayalam films across genres and styles.

Malayalam cinema has long been known for its ability to convey deep emotions through simple yet powerful storytelling. Some films go beyond mere entertainment, leaving viewers with a lingering sense of warmth, joy, and nostalgia. These movies are rich with themes of love, friendship, hope, and perseverance. With visually captivating scenes, gentle music, and heartfelt narratives, they create a soothing escape, offering comfort and optimism. Here’s a look at some Malayalam films that promise to lift your spirits and touch your soul.

Madhuram

Set within the confines of a government hospital, Madhuram tells the story of a group of strangers brought together by their shared experiences while caring for their ailing loved ones. Despite their personal struggles, these characters form deep connections as they navigate through moments of sorrow, uncertainty, and hope. The hospital becomes a space not just for healing the sick but also for nurturing friendships and emotional recovery. Through its heartfelt storytelling, Madhuram delves into themes of love, loss, and the profound human need for connection. The film emphasizes that even in the darkest times, kindness and companionship can create lasting warmth.

Jacobinte Swargarajyam

Inspired by a real-life story, Jacobinte Swargarajyam centers around a family suddenly thrown into financial turmoil. Faced with immense adversity, the family’s strong sense of unity and determination drives the narrative forward. Their unwavering bond becomes the foundation of their strength, showcasing how familial love and support can triumph over even the most trying challenges. The story’s optimistic tone is consistently uplifting, and the characters’ resilience resonates with viewers. As the family battles their crisis, the film becomes an inspiring reminder that “with faith, strength, and togetherness, anything is possible.”

Aanandam

Aanaandam is a refreshing tale that follows a group of college students on their first road trip, capturing the vibrant energy of youth and the evolving nature of friendships. The journey becomes a transformative experience, filled with laughter, self-discovery, and emotional growth. Each character faces personal fears and insecurities, but it is through their bond with one another that they find confidence and joy. The film encapsulates the carefree yet meaningful days of college life. With its light-hearted tone and memorable moments, Aanandam leaves viewers with a “nostalgic smile and a heart full of fond memories.”

Charlie

A unique and visually enchanting film, Charlie follows the life of a young woman who embarks on an adventurous search for a mysterious man named Charlie. His eccentric and free-spirited lifestyle leaves behind clues that slowly unravel his story. As she pieces together his past, the film takes the audience through a series of colorful characters and heartfelt encounters. The narrative moves beyond romance, reflecting on the importance of living life on your own terms. With vibrant cinematography and soulful music, Charlie offers “a magical ride full of surprises, warmth, and wonder,” making it an unforgettable experience.

Philips and the Monkey Pen

This charming film revolves around Ryan, a mischievous yet intelligent fifth-grade student who struggles with mathematics. His life takes a turn when he finds a magical monkey-shaped pen that helps him tackle his academic problems. However, the story delves deeper than just a fantasy adventure. It highlights the emotional struggles children face and the importance of understanding and encouragement from parents and teachers. Through Ryan’s journey, the film explores how empathy, support, and love can help a child thrive. As one scene subtly conveys, “Every child needs not just lessons, but also belief and care.”

Bangalore Days

A beloved classic in modern Malayalam cinema, Bangalore Days tells the story of three cousins who move to Bangalore and begin new chapters in their lives. The city becomes the backdrop for their individual and collective journeys as they navigate through love, careers, and personal challenges. The film beautifully weaves the emotions of nostalgia, youthful energy, and deep-rooted family ties. It captures the bittersweet nature of growing up and the comfort of having loved ones nearby. “No matter where life takes us,” the film suggests, “our roots and relationships shape who we become.”

Ustad Hotel

This soul-stirring film follows Faizi, a young man who dreams of becoming a professional chef. His plans take an unexpected turn when he returns to Kozhikode and reconnects with his grandfather, the owner of a modest seaside hotel. Initially reluctant, Faizi gradually comes to understand the significance of the simple meals served at Ustad Hotel and the values behind them. His grandfather, with quiet wisdom, teaches him not just about food but about life itself. The bond between the two forms the emotional core of the film. As the story unfolds, it becomes clear that “cooking is not just about taste—it’s about love, care, and compassion.”

In conclusion, these Malayalam films go beyond the screen to touch something deep within us. They are not merely tales of love, loss, and laughter, but reflections of our own journeys, relationships, and dreams. Each film, in its own way, celebrates the human spirit—its ability to love, to endure, to connect, and to hope. From the youthful joy of Aanandam to the soulful reflections in Ustad Hotel, these stories stay with you long after the credits roll. They remind us that life, despite its challenges, is filled with beauty, kindness, and magic.

The highly anticipated Malayalam action-thriller L2: Empuraan, starring Mohanlal, hit theatres on Thursday (March 27), serving as a sequel to the 2019 hit Lucifer. The film had a phenomenal opening, raking in ₹22 crore at the box office on its first day, according to industry tracker Sacnilk.

Strong Occupancy Across Shows

The film witnessed an impressive overall occupancy rate of 61.02% in the Malayalam market on its release day. Show-wise occupancy figures stood as follows:

• Morning shows: 63.32%
• Afternoon shows: 54.32%
• Evening shows: 60.43%
• Night shows: 66.00% (highest turnout)

Critical Acclaim and Industry Reactions

Film critic and trade analyst Taran Adarsh took to X (formerly Twitter) to praise L2: Empuraan, calling its debut a “historic start across Kerala.” He noted that theatres in major cities, including Thiruvananthapuram, Kochi, Kozhikode, Kottayam, Thrissur, and Palakkad, were experiencing packed shows, signaling an “earth-shattering opening.”

He further stated, “Empuraan is on track to rewrite opening-day records. If this momentum continues, it could very well be a game-changer for the Malayalam film industry!”

Star-Studded Cast and Production

Directed by Prithviraj Sukumaran, L2: Empuraan is backed by Aashirvad Cinemas, Sree Gokulam Movies, and Lyca Productions and produced by Antony Perumbavoor, Gokulam Gopalan, and Subaskaran.

Apart from Mohanlal in the lead, the film boasts a star-studded cast, including Prithviraj Sukumaran, Tovino Thomas, Manju Warrier, Sachin Khedekar, Abhimanyu Singh, Jerome Flynn, Eriq Ebouaney, Suraj Venjaramoodu, and Indrajith Sukumaran in pivotal roles.

Director’s Vision

Speaking about the film’s narrative, Prithviraj Sukumaran emphasized the importance of maintaining a coherent visual communication. He stated, “With so many events unfolding back to back, it’s easy for the audience to lose focus. L2: Empuraan is a fast-paced film that shifts rapidly between timelines, locations, and different parts of the world, often depicting simultaneous events across multiple timelines. Because of this, I had to be constantly aware of where the narrative was headed and ensure that the pacing remained consistent throughout.”

With a powerful opening and strong word-of-mouth, L2: Empuraan is poised for a record-breaking run at the box office.

On March 22, 2025, the Indian Consulate in New York, in collaboration with the Indian Heritage & Cultural Association (IHCA), organized an engaging seminar titled “The Evolving Landscape of Indian Cinema: The Impact, Challenges, and Future of Indian Cinema on the International Stage.” The event took place at the Lake Chateau Banquet Hall in Woodbridge, New Jersey.

The keynote address was delivered by Padma Shri awardee Dr. Mohan Agashe, a highly respected and versatile actor who is also trained as a psychiatrist. Throughout his career, Dr. Agashe has earned numerous accolades, including the Sangeet Natak Akademi Award in 1996 for theater, the Filmfare Award Marathi for Best Actor for his role in Astu, and the Punya Bhushan award in 2023. During his speech, he explored the intersection of psychology and acting, shedding light on how both disciplines are deeply intertwined.

The event commenced with remarks from opening speaker Archana Joglekar, an accomplished actress and classical dancer known for her contributions to Marathi, Odia, and Hindi cinema and television. A skilled Kathak dancer and choreographer, Joglekar also runs a dance academy for young students.

Consul General Binaya Srikanta Pradhan, introduced by IHCA co-host Dr. Ashok Chaudhary, highlighted the Consulate’s focus on celebrating Indian cinema throughout the year with various events across the Northeastern United States, including two upcoming programs in New York dedicated to fashion and Odia cinema.

Speaking on the relevance of the seminar, Pradhan remarked, “Today’s event is more contextual in the sense that we are not watching a movie. To a great extent, there is no point in watching a movie because we get to see movies in cinema halls here, we get to see movies on OTT platforms.So today’s event is rather more relevant when we talk about the evolving landscape of Indian cinema.”He lauded Dr. Agashe for his vast experience and deep understanding of both theater and film, as well as his expertise in psychology.

Joglekar reflected on her early days in the entertainment industry, describing her transition from theater to film in the 1980s. “When I started my career way back in 1984, close to 40-plus years back, it was a transition from Marathi professional theater,” she shared. She noted how different the industry was at the time, explaining that she did not go through formal auditions or casting calls. Instead, filmmakers often scouted actors from theater productions, and her performances in Marathi drama quickly caught their attention. “I was fortunate to be pampered and appreciated by everybody,” she recalled, adding that this recognition led to roles in both Marathi and Hindi films. She described the film set as a “very warm affair” where actors, co-actors, and senior artists interacted like family.

Dr. Agashe offered insights into the connection between psychology and communication. He emphasized the complexity of human interaction, stating, “When we are talking to each other in person, we are talking in three languages.” These include verbal language, body language, and sound language. “So the language of words goes through your brain for deciphering, body language from the subconscious, and the sound goes through the unconscious.”

To explain his point further, he drew an analogy to computer systems, comparing the unconscious mind to a hard drive and the conscious mind to RAM (random access memory). “That is why, unless you use proper commands, the unconscious doesn’t come to the conscious.” As a psychiatrist, he noted that he pays closer attention to how people communicate rather than what they say. “I go with what they communicate,” he explained.

Speaking to ITV Gold after the event, Dr. Agashe emphasized the significance of the discussion, calling it both “very important and very timely.” He underscored the necessity of understanding cinema’s evolution, stating, “We should know where we were, where we are, and where we are going. Because if we need some correction, that can be done at this stage. That enables the culture to retain its identity even as it becomes part of the world.”

Padma Shri recipient Dr. Sudhir Parikh, chairman of Parikh Worldwide Media and ITV Gold, also shared his appreciation for the seminar. He praised the organizers for their efforts in hosting numerous cultural events throughout the year and described the current seminar as a “signature event” that offered valuable insights into Bollywood’s evolution over the past century.

Following a remarkable theatrical run, the Kunchacko Boban-starrer Officer on Duty is now preparing for its digital premiere.

For those who missed the opportunity to watch this gripping thriller in cinemas, Officer on Duty will be available for streaming on Netflix starting March 20. The film will be accessible in multiple languages, including Malayalam, Hindi, Telugu, Tamil, and Kannada.

Netflix officially announced the release through a social media post, which read, “Puthiya officer etheetund, stand in line and salute. Watch Officer on Duty on Netflix, out 20 March in Malayalam, Hindi, Telugu, Tamil, Kannada #OfficerOnDutyOnNetflix.”

Directed by Jithu Ashraf, with a screenplay penned by Shahi Kabir, the movie features an ensemble cast, including Vishak Nair, Priyamani, Jagadish, and Aadukalam Naren in significant roles.

Kunchacko Boban recently took to social media to express his gratitude toward his wife and the entire team behind the film. Sharing a heartfelt note alongside a picture with his wife, the actor wrote, “Officer On Duty. With His Beauty. I know how much you yearned for this acceptance, my love!! You have been my constant support, critic, friend, tension-breaker, and the biggest fan!!! And this success is more deserving for you!! Love and salute from your officer …or rather, HUSBAND ON DUTY. And a big big thaaank you to each and everyone who made OFFICER ON DUTY the biggie in my life.”

According to recent reports, Officer on Duty has emerged as the highest-grossing Malayalam film of 2025, surpassing Asif Ali’s Rekhachithram.

The film has received a mixed critical reception. ETimes awarded Officer on Duty a rating of 3 out of 5 stars. The review noted, “While Officer on Duty is a gripping, well-crafted thriller that keeps viewers on edge, it also serves as a stark reminder of how crime films continue to exploit the suffering of women for shock value. The film may entertain, but it also demands reflection—how much longer will we keep witnessing the same cycle of violence on screen?”

Looking ahead, Kunchacko Boban will next be seen in Mahesh Narayanan’s upcoming multi-starrer film, which will also feature Mammootty, Mohanlal, Nayanthara, and Fahadh Faasil in prominent roles.

Robert De Niro’s latest Netflix series, Zero Day, continues to maintain a strong presence in the streaming platform’s top 10 most-watched list, even weeks after its debut.

This successful collaboration appears to be just the beginning, as Netflix has now revealed initial details about an upcoming crime thriller film featuring the legendary actor in a significant role.

Titled The Whisper Man, the movie is an adaptation of Alex North’s bestselling novel of the same name. If the name rings a bell, it’s because the book gained widespread popularity upon its release.

Netflix’s Tudum website has shared an official description of the film, which suggests an intense and suspenseful narrative. According to the logline:

“When his 8-year-old son is abducted, a widowed crime writer looks to his estranged father, a retired former police detective, for help, only to discover a connection with the decades-old case of a convicted serial killer known as ‘The Whisper Man.’”

A Star-Studded Cast Joins the Project

While De Niro’s role has not been explicitly stated, it is widely speculated that he will portray the retired detective. Alongside him, Netflix has confirmed two other key actors: Adam Scott, known for his role in Severance, and Michelle Monaghan, who has been gaining attention for her performance in the third season of HBO’s acclaimed anthology series The White Lotus.

This trio makes for an exciting lineup. Scott’s involvement is particularly noteworthy, as he continues to expand his range with serious roles, while Monaghan brings prior experience in the crime thriller genre, having starred in the 2007 film Gone Baby Gone.

Behind the scenes, James Ashcroft has been brought on as the film’s director. His latest psychological thriller, The Rule of Jenny Pen, was just released in theaters last Friday, March 7. The screenplay adaptation of The Whisper Man will be penned by writers Ben Jacoby and Chase Palmer.

Netflix’s Sixth Collaboration With the Russo Brothers’ AGBO

This project also marks Netflix’s sixth partnership with AGBO, the production company run by the Russo brothers. Their fifth joint venture, The Electric State, a sci-fi blockbuster starring Millie Bobby Brown and Chris Pratt, is set to premiere on the streaming platform this Friday, March 14. However, early reviews have been overwhelmingly negative, with the film currently holding a disappointing 21% rating on Rotten Tomatoes.

While Netflix has confirmed that The Whisper Man will enter production this spring, the streaming giant has not provided a specific release timeline. Given that filming has yet to begin, the movie is likely to be released in 2026.

A Promising Thriller on the Horizon

Regardless of the wait, The Whisper Man is shaping up to be a must-watch thriller. The combination of a strong cast and well-received source material suggests a promising film. The key question remains: will the final product meet expectations?

For now, if you’re looking for gripping content to watch, Netflix has recently added a new psychological thriller full of unexpected twists. Additionally, there’s a complete rundown of everything new arriving on the platform in March 2025, offering plenty of options to keep viewers engaged.

Renowned director Sundar C, currently helming the pan-Indian film Maha Shakthi (Mookuthi Amman 2 in Tamil), featuring Nayanthara in the lead, asserts that the film will go beyond regional boundaries, resonating with audiences across India and beyond.

Known for his expertise in franchise films within Tamil cinema, Sundar C promises that Maha Shakthi will offer breathtaking visuals, high-intensity action sequences, and an emotionally gripping storyline. Expressing his enthusiasm for the project, he remarked, “I believe in making films that entertain, engage, and leave an impact. With Maha Shakthi, we are taking everything to the next level—bigger action, deeper rooted storytelling, and a visual grandeur like never before. This is a film that will truly transcend regional cinema and connect with audiences across India and globally. With Nayanthara leading this franchise, the journey has just begun.”

Although the Tamil version carries the title Mookuthi Amman 2, the makers clarified in a statement that Maha Shakthi is a standalone narrative that marks the beginning of a fresh cinematic franchise. The film is being produced on a grand scale by Ivy Entertainment and Vels Film International, under the leadership of Dr. Ishari K. Ganesh, with a staggering budget of ₹100 crore. A grand muhuratam ceremony was held in Chennai to mark the official launch of the project.

Designed to captivate audiences across India and beyond, the film stars Nayanthara as a divine protector, with Regina Cassandra playing an intense role and Yogi Babu adding a comedic element to the storyline. The ensemble cast also features the seasoned actress Urvashi, alongside Garuda Ram and Ajay Ghosh. Additionally, it was revealed that actor Duniya Vijay will portray the antagonist, bringing a powerful and intense performance that heightens the conflict between good and evil.

Nayanthara, known for her commanding screen presence and acting versatility, is set to portray a powerful divine force, promising to bring both grace and intensity to the role. She shared her thoughts on being part of the project, stating, “Playing this role is more than just a performance—it’s an emotion. Maha Shakthi carries a power beyond cinema, and with Sundar sir’s vision, we are bringing a story that will leave an impact on every audience member. I’m thrilled to be part of this grand journey.”

Dr. Ishari K. Ganesh, the producer of Vels Film International, emphasized the ambitious vision behind the film, saying, “At Vels Film International, we have always pushed the boundaries of storytelling and scale. Along with Ivy Entertainment, we wanted to bring a film that is deeply rooted in our culture but speaks to audiences everywhere. Maha Shakthi is not just another grand production; it’s a phenomenon that will redefine commercial cinema and take Indian films to an even bigger global stage.”

Among the eight Indian films that have crossed the remarkable Rs 1000 crore milestone, only two—Dangal and Pathaan—are pure Bollywood productions. The remaining six? Five are entirely Southern films (Baahubali, Pushpa 2, RRR, KGF: Chapter 2, and Kalki 2898 AD), while the sixth, Jawan, was helmed by a South Indian director. This raises a crucial question: Is Southern cinema excelling in a way Bollywood isn’t, or is Bollywood making critical missteps?

To find answers, one would need to explore the Southern film industry or, as the Screenwriters Association (SWA) recently did, invite experts from the South to share their insights at its seventh conference. A panel featuring representatives from all four Southern film industries laid out their approach to filmmaking. If Bollywood pays attention, it could apply these five key lessons to regain its box-office dominance.

1. Rootedness: Staying True to the Soil

Vivek Athreya, a Telugu director known for Mental Madhilo, Brochevarevarura, Ante Sundaraniki, and the recent vigilante hit Saripodhaa Sanivaaram, succinctly explained why South Indian films resonate deeply: “In South cinema, the films are rooted. The ideas are rooted. KGF and Pushpa worked not because of the scale of the film, but the rootedness of the characters and emotions.”

Imagine pitching a story to Bollywood producers about a hot-headed villager who turns to looting jungle redwood. The typical response might be dismissive: Who would relate to a village nobody? Too small for the big screen! Not pan-India enough—maybe OTT? Can you make it for two crores? Yet this very concept became the Pushpa franchise, now worth over Rs 2000 crores.

Bollywood’s obsession with creating ‘pan-India’ films often leads to superficiality. In attempting to cater to everyone, it satisfies no one. Like Trishanku, a mythical figure suspended between worlds, Bollywood finds itself neither fully connected to its roots nor successfully universal.

Consider the biggest Indian hits of 2024. Bollywood had Stree 2, a film rooted in the Hindi heartland, featuring ordinary local boys in extraordinary circumstances—eerily similar to the Malayalam blockbuster Manjummel Boys. Tollywood’s biggest success was again the deeply local Pushpa 2.

Ironically, many of Bollywood’s greatest hits—Awara, Mother India, Hum Aapke Hain Kaun, Andhadhun, Piku, 3 Idiots, Lagaan, and Bajrangi Bhaijaan—were not grand spectacles but small stories firmly anchored in their social and cultural milieu.

Tamil filmmaker C. Prem Kumar, known for 96 and Meiyazhagan, even included Imtiaz Ali’s Amar Singh Chamkila in this category. He admired the film and believed, “If it had been released in theatres instead of straight to OTT, it would have been a blockbuster.”

Contrast this with Bollywood’s post-pandemic failures, such as Bade Miyan Chote Miyan. Despite a large-scale premise where heroes save the nation, they couldn’t save the film from bombing at the box office.

2. Single Producer: Cutting Through Corporate Red Tape

Bollywood takes pride in being ‘corporatized,’ which does offer benefits, particularly in contractual security for writers. However, it has created inefficiencies.

Kannada filmmaker Hemanth M. Rao (Godhi Banna Sadharana Mykattu, Kavaludaari, and the Sapta Saagaradaache Ello series) described the advantages of pitching to an individual producer: “I go into a room, pitch my idea to an actor or producer, and if he likes it, the film is on. We’re already discussing release dates. I get to make the story I want to make.”

Prem Kumar shared a frustrating contrast: he once waited six months for a corporate studio’s response, only to receive feedback from a different person than he initially spoke to. “He spoke like he was the other person, starting where the other had left off. I had to ask him, Who are you?” The audience laughed, but the inefficiency was evident.

3. Feedback: The Danger of ‘Autopsy Panels’

Throughout the SWA conference, one word unsettled screenwriters: notes—the dreaded studio feedback process. Sometimes valuable, these notes often originate from executives with little understanding of cinema.

A Mumbai production house reportedly outsourced screenplay feedback to film school students, passing their critiques to directors and writers. Imagine legends like S.S. Rajamouli or Mani Ratnam receiving notes from 19-year-olds with minimal cinematic experience.

A fellow screenwriter analyzed the psychology of corporate executives compelled to give feedback. Many, he suggested, once aspired to be filmmakers but settled for stable jobs in studios, leading to subconscious resentment and unnecessary critiques. One renowned Bollywood director once told an executive, “Don’t try to justify your salary with ridiculous notes on my film.”

Hemanth Rao aptly called these groups autopsy panels—but autopsies are for things that were once alive, whereas these critiques target films not yet made.

4. Algo Filmmaking: Prioritizing Metrics Over Talent

Bollywood increasingly relies on algorithms to select actors based on social media metrics rather than acting ability. The logic appears sound—if an actor has millions of followers, even a fraction watching their film should guarantee success.

However, this approach leads to absurd casting decisions. Filmmakers report being forced to work with actors solely due to their online presence, even if their performances are subpar. This explains why some wooden actors repeatedly land roles while skilled performers struggle.

This metric-driven approach is more prevalent in Bollywood than in Southern industries, where casting prioritizes role suitability over digital influence.

5. Marketing Laziness: The ‘Pan-India’ Trap

Bollywood’s fixation on the ‘pan-India’ label often results in diluted narratives that fail to connect with any specific audience. Instead of tailoring marketing strategies to different viewer groups, studios prefer films that can be mass-marketed without additional effort.

Hemanth Rao warned against creating with a broad audience in mind: “I never want to reach everyone. Out of 10 people, I know only eight will watch the film. My job is to be honest with those eight and ensure they see it.”

Filmmakers create for specific audiences, but corporate studios often fail to market films effectively. As Rao put it, “That’s not the job of the writer, director, or actor. It’s the marketing department’s job to ensure the film reaches the right audience.”

Additional issues raised included the undervaluing of writers. Christo Tomy, writer-director of Ullozhukku, noted that in Malayalam cinema, writers and directors sometimes receive equal IP rights alongside producers—unthinkable in Bollywood, where even securing fair royalties has been a struggle.

Ultimately, the key takeaways for Bollywood are clear:

• Stay true to cultural roots, even in fantastical stories.
• Avoid excessive bureaucratic interference.
• Resist unnecessary corporate feedback that dilutes creative vision.
• Prioritize acting talent over social media popularity.
• Demand more from marketing teams instead of making films overly generic.

These principles seem like common sense, yet Bollywood remains resistant to change. High-paid executives prefer the status quo, and producers continue making money regardless of a film’s artistic merit. The real casualties are fresh ideas, frustrated creators, and audiences deprived of great cinema.

If Bollywood doesn’t course-correct, something will eventually give—but what that will be remains to be seen.

It felt like déjà vu. After watching Kunchako Boban’s latest crime thriller Officer On Duty, I couldn’t shake off the familiarity—it had the same essence as Mohanlal’s 2012 hit Grandmaster. A cop with a fractured family, a crime that ties into their past—it was gripping, well-crafted, and fast-paced, yet undeniably a case of old wine in a new bottle. That’s when it hit me: Malayalam cinema’s crime thriller wave might be coming full circle.

Malayalam cinema has long been a sadhya—a feast offering a little of everything, balancing taste and texture. It had the comforting dal of family dramas, the fiery achar of political narratives, the crisp pappadam of comedies, and the sweetness of payasam in experimental films. This variety made it a distinct and exciting experience, with something new to savor each time. But now? The industry seems to be serving up the same dish over and over—crime thrillers.

A well-made thriller is like a solid plate of Kozhikode biryani—spicy and intense, making you crave more. But what happens when you’re served the same thing for breakfast, lunch, and dinner? Sooner or later, you’ll start longing for something else. Malayalam cinema seems to be approaching that point. Every film involves a chase, a murder, or gaslighting, followed by a last-minute twist—either leaving viewers stunned or prompting a weary, “Oh, this again.”

Thrillers dominate for a reason. They’re engaging and perfectly suited for today’s attention-deficient audience. In an era where viewers scroll past videos if they don’t captivate within three seconds, a gripping thriller wastes no time—it grabs you by the collar and doesn’t let go. But the real question is: Is Malayalam cinema tilting too far toward this genre? Has it begun sidelining the very diversity that once made it exceptional?

Credit where it’s due—Malayalam cinema has mastered thrillers. Unlike Bollywood, where “thrillers” often mean slow-motion shootouts and villains delivering monologues longer than a train ride across Kerala, Malayalam films thrive on silence, subtlety, and atmosphere. Drishyam (2013) didn’t need high-speed chases, Anjaam Pathira (2020) avoided excessive jump scares, and Joji (2021) transformed Shakespeare’s Macbeth into such an eerie experience that even broad daylight felt unsettling.

Thrillers are also cost-effective. Unless a filmmaker insists on making a half-baked KGF lookalike, they don’t require extravagant sets or CGI-heavy sequences. A sharp screenplay, an efficient crew, and a talented cast—things Kerala has in abundance—are all it takes to create a compelling thriller.

Then, there’s the social media factor. Movies today aren’t just made for theaters; they’re crafted for Instagram reels and viral memes. They’re filled with moments meant to be clipped and shared. Think of the jaw-dropping courtroom scene in Drishyam 2 (2021)—it wasn’t just watched, it was circulated widely. The unsettling silences in Rorschach (2022) were perfect for short video edits. That one-line revelation in Iratta? Instant meme material. Thrillers naturally lend themselves to this formula—a gripping moment, a shocking reveal—exactly the kind of content that trends online. Compare that to a slow-burning family drama—it may be great cinema, but it’s not exactly viral material.

However, an overdose of thrillers makes them predictable. Every film now feels obligated to have a twist, even when it doesn’t make sense (The Priest, 2021, comes to mind). Psychological breakdowns have become so commonplace that it seems like every Malayali character is just one bad day away from losing it (Joji did it well, Theerppu, not so much). Serial-killer thrillers, too, are becoming repetitive (Forensic’s creepy kid subplot—what was the point of that?).

If the industry keeps chasing viral twists, it risks losing the kind of cinema that set it apart: its range. When was the last time we saw another Maheshinte Prathikaram (2016), Kumbalangi Nights (2019), or Nanpakal Nerathu Mayakkam (2022)?

That’s not to say thrillers should stop being made—they work. But a mix is necessary. Malayalam cinema became great because of its variety. The same Padmarajan who directed the romantic classic Thoovanathumbikal (1987) also gave us Ee Thanutha Veluppan Kalathu (1990), one of the first serial-killer movies in Malayalam. Sathyan Anthikkad, known for his lush portrayals of rural Malayali life, also made the vengeance drama Pingami (1994). Anjali Menon, who gave us the meditative Manjadikuru (2008) and the vibrant Bangalore Days (2014), later adapted the Marathi psychological drama Happy Journey (2014) into Koode (2018).

There’s still so much left to explore! How about a cyberpunk thriller set in a futuristic Kerala, like the upcoming comedy Gaganachari (2024)? A post-apocalyptic survival story? A psychological sports drama delving into the mental toll of competition? Malayalam cinema has yet to produce a proper war film, a folk horror based on Theyyam, or a Pan’s Labyrinth-style dark fantasy drawing from Kerala myths. Even a rural musical, where the narrative unfolds through songs, could be groundbreaking.

The best films aren’t made for algorithms—they’re made because they deserve to exist. Malayalam cinema didn’t become one of India’s finest film industries by following trends; it created them. Imagine if the ’80s and ’90s had been dominated solely by slapstick comedies—we wouldn’t have gotten Adaminte Vaariyellu (1983), Yavanika (1982), Moonnam Pakkam (1988), or even Ramji Rao Speaking (1989). If the industry keeps pushing thrillers just because they sell, it risks missing out on the next great classic.

Crime thrillers will always be a vital part of cinema. But for Malayalam cinema to keep evolving, it must take bigger risks. It has already proven that it doesn’t need big budgets or heavy VFX to create masterpieces. What it needs now is fresh thinking. The films that stand the test of time aren’t just those with shocking twists—they’re the ones that dare to tell unique stories with exceptional craftsmanship.

Cinema has long romanticized marriage which is often portrayed as a promise with a happily-ever-after. But there are films that choose to tell a different truth, one that many women live but rarely speak about. Stories that explore how a woman’s identity often dissolves into a pile of silent sacrifices after she says ‘I do.’ With Mrs., now streaming on ZEE5 Global, that conversation has reached a new peak. It joins a league of films that have made audiences pause, think, and rethink the realities of womanhood in marriage.

Here are four films, across major streaming platforms, that challenge the very notion of marriage, especially for a woman.

Mrs.

Cast: Sanya Malhotra, Nishant Dahiya and Kanwaljit Singh

Language: Hindi

A woman’s life changes after marriage. But how often does anyone ask her how she feels about it? Mrs. does not tell a loud story. It does not show physical violence or overt cruelty. But in its silence lies its power. Sanya Malhotra delivers a performance so hauntingly real that it is impossible to look away. She plays Richa—a woman who was once full of life, but slowly dissolves into the expectations placed upon her. Since its premiere on ZEE5 Global, Mrs. has not only shattered streaming records but has also become the most searched film on Google. But beyond all this, it has become a cultural conversation, with women across the world seeing their own self in Richa’s journey.

English Vinglish

Cast: Sridevi, Adil Hussain, Priya Anand and Navika Kotia

Language: Hindi

Marriage gives women many things, such as companionship, security and a family. But sometimes, it takes away something that is far more important, i.e. self-worth. Sridevi’s English Vinglish is the story of a woman who is loved, but not respected. Shashi is a devoted wife and a perfect homemaker. And yet, to her family, she is ‘just’ those things. Her inability to speak English becomes a source of mockery and an excuse to look down on her. Streaming now on ZEE5 Global, English Vinglish is a film about reclaiming dignity. And in doing so, it reminds every woman that she is more than the roles she plays.

Thappad

Cast: Taapsee Pannu, Dia Mirza and Pavail Gulati

Language: Hindi

It was just one slap. That’s what everyone tells Amrita after her husband hits her in front of a room full of people. They tell her that one slap isn’t a reason to leave and that it was a moment of anger. But that is exactly what Thappad forces you to question—why is a woman always expected to tolerate and endure? Taapsee Pannu’s performance is breathtaking in its restraint. Her character doesn’t seek revenge. She simply decides—if one slap is acceptable, then this is not the life she wants. Thappad started a national conversation on domestic violence and emotional neglect in marriages, a topic that was long ignored. Currently streaming on Prime Video, this film and its message remains powerful even today.

Tribhanga

Cast: Kajol, Tanvi Azmi, Mithila Palkar and Kunaal Roy Kapur

Language: Hindi

Not all battles are fought inside a marriage. Some are fought after it. Some women walk away, not just from their husbands but from the entire idea of what a woman should be. Kajol’s Tribhanga tells the story of three generations of women. Each one chose to live on her own terms, and each one paid the price for it. It explores the judgment and the loneliness left by choosing yourself in a world that wants you to conform. Streaming on Netflix, Tribhanga is an emotional reminder that women who break the rules are always punished for it. But as these women prove, choosing yourself is always worth it.

Following a remarkable 2019 in which he delivered some of his most critically acclaimed performances in Kumbalangi Nights, Athiran, and Super Deluxe, Fahadh Faasil began 2020 by reuniting with acclaimed filmmaker Anwar Rasheed. The two had previously collaborated on the Aami segment of the 2013 anthology 5 Sundarikal. However, their new project, Trance, stood out not just from their previous works but also from other Indian films that explored similar themes.

Despite receiving varied reactions, Trance exposed the contradictions within Kerala society’s so-called progressiveness and its reluctance to critically analyze religion and its messengers. At the same time, the film highlighted the risks of pursuing grand ideas without a solid foundation. It served as a reminder that no matter how visually captivating a film is or how impressive the performances are, a weak screenplay can still undermine its success.

At its heart, Trance delves into a broad spectrum of themes, including the hypnotic power of theism, the essence of atheism, the commercialization of faith, the exploitation of human suffering, existentialism, nihilism, the impact of mental health struggles, and the devastating effects of substance abuse. However, one of its greatest strengths lies in how all these ideas are embodied within a single character. Every shift in his psyche creates ripples in the external world, making Viju Prasad’s (Fahadh Faasil) mind a personification of the concept of Everything Everywhere All at Once.

While films like PK (2014) and Oh My God! (2012) highlight the emptiness of superstitions and pseudo-gurus by adopting an outsider’s perspective, Trance takes a different approach. Instead of focusing on those who reject blind faith, the film closely examines the very institutions that manufacture these beliefs and the skilled individuals who recruit the gullible as believers using persuasive tactics. Unlike its Bollywood counterparts, which treat these subjects with humor and only scratch the surface of the consequences of challenging religious enterprises, Trance fully immerses itself in the dark realities beneath the glossy façade, exposing the metaphorical bloodstains that remain hidden from public view.

The story follows Viju, a motivational speaker living in Kanyakumari with his younger brother Kunjan (Sreenath Bhasi), who suffers from severe clinical depression. The first act of Trance focuses on their lonely and impoverished existence. Although Viju conducts motivational sessions to help others unlock their potential, he himself remains trapped in financial struggle. Having lost their mother to suicide as children, Viju assumed the role of caretaker for Kunjan, working odd jobs at the expense of their education. The film makes it evident that their unconventional upbringing had a lasting impact on their mental health.

Interestingly, Trance critiques the superficiality of motivational speaking through Viju’s journey. It draws a direct parallel between self-help seminars and religious gatherings, both of which rely on unwavering faith in a central figure who is believed to possess transformative powers. Notably, the primary audience for Viju’s “Success Juice” sessions consists of elderly individuals, mirroring the demographic that later flocks to Pastor Joshua Carlton, the identity Viju adopts in his new role. However, despite positioning himself as a guide to self-improvement, Viju is unable to prevent Kunjan’s suicide—a tragedy that sends him into a downward spiral.

Struggling with insomnia and auditory hallucinations, Viju begins taking his brother’s anxiety medication, which amplifies his energy but does little to numb his grief. Feeling lost, he leaves Kanyakumari for Mumbai, but his troubles persist. In one particularly striking sequence, he is seen through a broken dormitory windowpane, sitting under dim light in disheveled off-white clothing, symbolizing his fragile mental state. As the camera zooms out, revealing the building’s exterior, the presence of trippy purple and yellow decorative lights on the floor above visually hints at his descent into a trance-like state—marking the moment the film’s title appears on screen.

The narrative then shifts focus to how an atheist like Viju is transformed into Pastor Joshua Carlton, a self-proclaimed miracle worker. The film highlights how religious leaders, much like movie stars, can be meticulously manufactured through image-building. Initially hesitant when approached by a corporate firm that wants him to pose as a pastor, Viju receives what could be interpreted as a sign—he slips and falls while answering the phone call inviting him to meet the company’s heads, Solomon Davis (Gautham Vasudev Menon) and Issac Thomas (Chemban Vinod Jose). Perhaps this was a warning, but for someone on the brink of mental collapse and extreme poverty, recognizing such signals is a privilege he does not have. Hearing the financial incentives, Viju accepts the offer without hesitation.

A closer look at Solomon and Issac’s conversation with Viju reveals another parallel—just as Joshua later exploits his followers’ pain and desperation to rise in power, Solomon manipulates Viju’s suffering to make him feel trapped.

Once Viju’s transformation into Joshua begins, the film’s visual tone undergoes a drastic shift. The muted colors of the first act are replaced by vibrant hues, the pacing quickens, and the editing becomes sharper, emphasizing the staged nature of his newfound persona. Trance also deconstructs its own imagery, revealing the changing power dynamics. In training, Avarachan (Dileesh Pothan) asserts that he is Jesus while Viju is merely a servant. Later, Joshua assumes a Christ-like role himself, even symbolically resurrecting on the third day after being attacked by Solomon’s men for defying their control.

Despite struggling to gather 50 attendees for his motivational sessions, Joshua’s first prayer meeting attracts at least 1,500 people—demonstrating the immense power of religion as a commercial product. As he exploits vulnerability and blind faith, Joshua rises in influence, losing his sense of integrity in the process. Once too self-conscious to clap for himself in private, he later begins applauding his own success publicly, growing bolder with each step. The deeper Trance delves into its themes, the more it exposes how religious institutions evade accountability by attributing everything—both real and fraudulent—to divine intervention. “Miracles are not created, they happen,” Joshua proclaims.

The film also introduces biblical parallels, with the most notable being the character of Esther Lopez (Nazriya Nazim), a sex worker whose role mirrors that of Mary Magdalene. However, at this point, Trance takes a problematic stance on psychotropic drugs, inaccurately portraying prolonged use as fatal without acknowledging that dosages are determined by medical professionals.

In the film’s final act, Joshua, now freed from corporate control and blind believers, sets out to find Esther. Their reunion in Amsterdam is depicted in a fourth-wall-breaking moment, symbolizing a break from the illusion of religious grandeur. The film also reflects on how prophets, once created, are often left isolated and powerless—mere pawns in a larger scheme. The subplot involving Thommichan (Vinayakan), his wife Sheeba (Amalda Liz), and their daughter serves as an eye-opener for Viju, further reinforcing this theme.

Fahadh Faasil’s performance is the film’s standout feature. One particularly haunting moment is when Viju finds Kunjan’s farewell letter. As he dials his brother’s number, his breathing becomes erratic, fearing the worst. Upon hearing the faint vibration of Kunjan’s phone in the next room, he hesitates before looking—deep down, he already knows. When he finally lifts his gaze, his eyes gradually redden with tears, capturing the devastation of the moment.

Despite its impressive technical aspects—including Anwar Rasheed’s direction, Amal Neerad’s cinematography, and Sushin Shyam’s music—Trance ultimately stumbles under its own weight. As the plot expands, the emotional depth that anchors the first act begins to wane. The film juggles too many elements without fully developing them, leaving the script feeling overloaded rather than profound.

While Trance is visually arresting and thematically ambitious, its overreliance on spectacle dilutes its message, preventing it from reaching its full potential.

The creators of Pushpa 2: The Rule, featuring Icon Star Allu Arjun and Rashmika Mandanna, have officially disclosed the film’s final box office earnings. Released globally on December 5 last year, the film has amassed a total collection of ₹1,871 crore. To commemorate this accomplishment, the production team unveiled a special poster showcasing the movie’s revenue.

The filmmakers have proclaimed Pushpa 2 as a major industry hit in Indian cinema. The film made history by raking in ₹294 crore worldwide on its first day, making it the highest first-day grosser for any Indian film. Within three days of its release, the movie surpassed ₹500 crore, and in just six days, it reached the ₹1,000 crore milestone, setting a new benchmark.

Helmed by renowned director Sukumar, the film was produced by Mythri Movie Makers, with music composed by Rockstar Devi Sri Prasad. Currently, Pushpa 2 is still running in select theaters and is also available for streaming on Netflix.

“This (film Umbarro) is to show women that everything is possible if they are crossing boundaries and opening their wings like I have done in America,” said Falguni Patel at a special premiere in Edison, where dignitaries, community leaders, and film enthusiasts gathered to celebrate her latest production.

Patel, who also produced the 2018 National Award-winning film Irada in the Best Film on Environment category, has a growing reputation in the Indian film industry. Irada earned Divya Dutta a National Award for Best Supporting Actress. Patel, who is both an actor and producer, has four films to her credit: Irada (2017), Ventilator (2018), Hirkani (2019), and Umbarro (2025). Umbarro is her second Gujarati-language production.

Addressing the guests, Patel shared how her parents encouraged her to spread her wings and pursue her dreams, a lesson she is now passing on to her two daughters. “So this is very close to my heart, and I hope the audience appreciates (it) in America as well,” she said.

The film delves into the concept of human boundaries, which Patel noted are not limited to any gender or age group. However, Umbarro particularly focuses on Indian women, highlighting the sacrifices they make in their personal and professional lives. “It is especially about Indian women who sacrifice a lot for their household work, for their careers, being the first to sacrifice for their family,” she said.

The story of Umbarro follows seven Gujarati women who have never traveled beyond their hometowns. They embark on a journey to London, organized by two aspiring tour operators who serve as their guides. As they navigate language barriers, currency confusion, and cultural differences, the women experience a roller coaster of emotions. They form new friendships, uncover hidden aspirations, and find support in each other.

With a star-studded cast of veteran stage and television actors, Umbarro brings together Sucheta Trivedi, Vandana Pathak, Vineeta Joshi, and writer-turned-actress Kajal Oza Vaidya. The film also features a special appearance by Navratri Queen Falguni Pathak.

Produced by Patel along with Sanjay Chhabria and co-producer Amit Bhanushali, Umbarro has found success not just in India but also in Australia, the UK, and Africa. The film was shot entirely on location in London and is written by Hemant Dhome, with a screenplay by director Abhishek Shah and Keyu Shah. While maintaining a comedic tone, the film incorporates moments of emotional depth. With cinematography by Tribhuvan Babu and music composed by Mehul Surti, the film offers both visual and auditory delight. Songs like the title track Umbarro, London Ke Limbdi, and Travel Mode have resonated well with audiences.

Patel’s husband and co-producer, Chintu Patel, described the film as an uplifting experience filled with emotions, humor, and fantastic music. He expressed pride in its reception, noting that it had earned a high 9.2 rating on IMDb. “People are loving it,” he said.

Highlighting the logistical challenges of filming abroad, Patel remarked, “To have a Gujarati movie shot for 25 days in London was not easy because your budgets are very small. So I really want to thank all the actors and actresses—they have done a tremendous job.”

Patel also praised the film’s director, Abhishek Shah, calling him “a magician” whose talent is evident in the film. He expressed gratitude to co-producer Sanjay Chhabria for staying committed to the project. “We are very happy for the Gujarati film industry and looking forward to promoting Gujarati films in the US,” Patel said.

The event’s chief guest, Binaya Srikanta Pradhan, Consul General of India in New York, commended the Patels for bringing Umbarro to the U.S. and promoting Indian culture. “I would say it’s a true contribution to the cultural bridge between our two great nations. What you are doing is in a very direct way contributing to promoting not only Gujarati movies, which are becoming mainstream both in India and abroad, but also you are bringing the culture to the United States.”

Pradhan expressed hope that films like Umbarro would find a larger audience in the U.S. through streaming platforms. “I am really happy this year we are promoting Indian movies, not Bollywood alone,” he said. He also shared plans for the Consulate, with support from India’s Ministry of Information and Broadcasting, to host a forum in New York City featuring the film’s cast. The event would focus on how films contribute to society and nation-building. “At the end of the day, these movies contribute in many different ways to bind our children to the families, to back home,” Pradhan noted.

Dr. Sudhir Parikh, Chairman of ITV Gold and Parikh Worldwide Media, congratulated the Patels for producing globally popular films. He encouraged them to continue supporting the Gujarati film industry.

The film’s title, Umbarro, translates to “doorstep,” symbolizing the vast world that lies beyond one’s immediate surroundings. Pradhan reflected on this symbolism, saying, “I think all of you have crossed that ‘dehleej’ in one way when you came out of India. This is about women crossing the ‘dehleej,’ but it is applicable to all.”

Srujal Parikh, Joint Secretary of the Federation of Indian Associations (FIA), highlighted the film’s success in India and internationally. He lauded Patel’s achievements as a National Award-winning producer and extended congratulations on behalf of FIA and the Gujarati Association of North America. Parikh encouraged audiences to support Gujarati cinema in the U.S. and spread the word about Umbarro.

TV Asia Chairman H.R. Shah also took the opportunity to thank Consul General Pradhan for his presence at the screening and his support for the Gujarati community.

With Umbarro, Falguni Patel has once again brought forward a story that resonates deeply, blending humor, emotion, and cultural identity. Through this journey of seven women stepping outside their comfort zones, the film offers a celebration of self-discovery, independence, and the power of shared experiences.

Allu Arjun’s highly anticipated film Pushpa 2: The Rule took the industry by storm upon its release. The movie, which generated immense excitement among audiences, lived up to expectations by delivering a staggering performance at the box office. With a production budget ranging between Rs 400-500 crore, the film became a massive success, ultimately securing its place as India’s highest-grossing film of 2024. The worldwide earnings for Pushpa 2 reached an impressive Rs 1,466.85 crore, and the theater occupancy rate remained strong throughout its run.

After dominating the box office, the next big milestone for Pushpa 2 was its release on an OTT platform. For those who missed experiencing the action-packed entertainer on the big screen, Netflix provided an opportunity to watch the film from the comfort of their homes. The movie premiered on Netflix on January 30, 2025, and within days, it achieved a significant milestone—it became the second most-watched non-English film globally.

Produced by Mythri Movie Makers, Pushpa 2: The Rule swiftly climbed the global rankings on Netflix within just four days of its release. It topped the most-watched charts in seven countries and secured a spot in the top 10 across 15 nations.

Beyond its impressive performance at the box office, the film’s success on Netflix further solidified its dominance. Not only did it emerge as the second most-watched movie worldwide, but it also claimed the top spot among non-English films in seven countries. Additionally, Pushpa 2 made its way into the top 10 lists of 15 other nations across the globe.

Since its premiere on Netflix on January 30, the film has garnered a staggering 5.8 million views, with audiences spending 21.8 million hours watching it. For the week ending February 2, the film held the second position on Netflix’s chart of most-watched non-English films, proving its widespread appeal.

About Pushpa 2

Released on December 5, 2024, Pushpa 2: The Rule stood as the most eagerly awaited film of the year. The movie featured Allu Arjun, Rashmika Mandanna, and Fahadh Faasil, all of whom reprised their roles from the previous installment. The film was released in multiple languages, including Telugu, Kannada, Tamil, Hindi, and Malayalam, catering to a diverse audience.

Following its blockbuster success in theaters, the filmmakers made an exciting decision to re-release the movie with an additional twenty minutes of unseen footage, further fueling audience enthusiasm.

The conclusion of Pushpa 2: The Rule left fans thrilled as it included a teaser offering a glimpse into what to expect from the third chapter in the franchise, Pushpa 3: The Rampage.

Varsha Bharath’s Tamil film Bad Girl secured the prestigious NETPAC Award at the International Film Festival Rotterdam on February 7, marking a significant milestone in her filmmaking journey.

The NETPAC Award, presented by the Network for the Promotion of Asian Cinema, honors exceptional films from Asia and the Pacific, particularly those that push storytelling boundaries and introduce fresh perspectives. The recognition is given to films that challenge cultural conventions and encourage thought-provoking discussions.

A jury panel consisting of Mevlut Akkaya, Rainbow Fong, and Rüdiger Tomczac evaluated 15 films before selecting the winner. Explaining their decision, the jury stated, “The film that we have chosen unfolds a coming-of-age story in a provocative way; it is cinematic and playful, with unexpected narrative solutions. The director employs a moody and vivid visual style to take us through the joys, worries, struggles, and emotions of the character’s transformation.”

Bharath’s film features a compelling ensemble cast, including Anjali Sivaraman, Shanthi Priya, Hridhu Haroon, TeeJay Arunasalam, and Sashank Bommireddipalli.

The storyline revolves around a young woman from a Brahmin background who challenges societal and cultural norms in her quest for independence. The film delves into themes of identity, rebellion, and self-expression, portraying the protagonist’s internal conflict as she navigates the divide between tradition and modernity.

Various associations within the Malayalam film industry have jointly decided to cease all activities, including film production and screenings, starting June 1. This decision follows extensive discussions on the growing financial distress in the industry.

Announcing the shutdown in Kochi, prominent producer G. Suresh Kumar highlighted the dire situation, emphasizing the severe losses that have plagued filmmakers. “This industry is already in the doldrums with film after film bombing at the box office, leaving the producers in a quandary,” he stated.

A major concern raised by Kumar is the heavy taxation imposed on the industry. “There is no industry which is being taxed at 30 per cent, and it includes GST besides additional entertainment tax. The government has to step in and withdraw this,” he demanded. Kumar, who is the father of National Award-winning actress Keerthi Suresh, stressed that such tax burdens are making film production increasingly unviable.

Another significant issue affecting the industry is the skyrocketing remuneration of actors and crew members. According to Kumar, this has created an unsustainable financial structure for producers. “The remuneration of actors and others has skyrocketed like never before, and it has to be scaled down. 60 per cent of the cost of a film is gobbled up by remuneration to the actors, which is hugely detrimental to a producer. They (actors) have no concern for this, and we just cannot go forward in this manner,” he explained. Kumar’s wife, Maneka, was a popular actress in the past, giving him deep insight into the industry’s changing dynamics.

Kumar pointed out that even newcomers in the industry demand exorbitant fees, further burdening film budgets. “Even the new actors charge a hefty fee, and so is the same with directors too. A film that can be finished in 50 days gets over in 150 days. Not even 10 per cent is recovered from the theatres compared to the remuneration of the actors. We will not cooperate with the films produced by the actors,” he asserted.

The financial crisis is further highlighted by the staggering number of box office failures in recent times. Kumar revealed that in the past year alone, 176 Malayalam films failed commercially. He also provided alarming figures regarding theatre losses in early 2025. “During January 2025, the loss for the theatres alone was Rs 101 crore,” he stated, indicating the industry’s worsening financial health.

The situation has also severely impacted the livelihoods of those working behind the scenes in the industry. “As many as 60 per cent of the film industry professionals who make a living working behind the screens are in dire straits,” Kumar said, underscoring the crisis that has left thousands struggling.

Another challenge is the uncertain revenue stream from OTT platforms. Previously, streaming services provided a crucial financial cushion for filmmakers, but that support has diminished significantly. Kumar explained that unless a film performs well in theatres, OTT platforms are hesitant to offer substantial deals. “The state government is silent, and presently, the situation is that the OTT market has dried up. If a film is received well at the box office, then the OTT market offers a sum… to receive the committed amount, it takes six to ten months,” he explained.

With such pressing concerns, the decision to halt industry operations is seen as an urgent move to force action from stakeholders, including the government and industry professionals. The coming weeks will determine whether negotiations can lead to relief measures or if the shutdown will prolong the crisis.

In the realm of cultural discourse, America’s persistent blind spot remains class. Regardless of their financial status—be it billionaires or hourly wage earners scraping by—most Americans identify themselves as middle class. However, class distinctions are subtly woven into every social interaction, whether acknowledged or not. This phenomenon is mirrored in India, where, despite the constitutional ban on the caste system since 1950, its shadow lingers. The Dalits, historically labeled as “untouchables,” continue to face systemic barriers designed to deny them justice. It’s within this deeply entrenched framework that Santosh Goswami finds herself ensnared, becoming a small part of a vast, indifferent mechanism.

Santosh, a young woman grappling with the recent loss of her husband, is left with few choices. Her path leads her to a role as a police officer—a job she assumes not out of ambition but necessity. Her husband’s death in a riot secures her this position under a program intended to support widows of fallen officers. However, she steps into this role untrained, donning a uniform still stained with her husband’s blood, and unaware of the grim reality: she’s not expected to do any real policing. The issue isn’t her lack of experience but rather a system meticulously designed to ensure that justice remains out of reach, especially for Dalit communities. Bureaucratic barriers prevent even the filing of basic police reports. After all, if there’s no report, there’s technically no crime—even when a 15-year-old girl’s lifeless body is pulled from a well.

British writer-director Sandhya Suri, in her first narrative feature, shifts her focus from the British-Indian cultural intersections explored in her earlier documentaries. Her debut, I for India (2005), examined her father’s life as an Indian immigrant in the UK, while Around India With a Movie Camera (2018) stitched together archival footage from the British Raj era. In contrast, Santosh is deeply rooted in contemporary India, with only faint echoes of colonial influence, visible in scenes of men playing cricket or the military-style uniforms worn by Santosh and her colleagues.

Suri resists the temptation to portray Santosh as a traditional hero. Although she’s the sole authority figure willing to investigate the crime, Santosh remains entangled in the very system that marginalizes the Dalit community. Her job is less a calling and more a means of financial survival, yet it places her in situations where she’s complicit in the injustices she witnesses. In one unsettling scene, she forcefully drags grieving family members away from a protest, embodying the same apathy she once despised. Her superior, Geeta, played with jaded brilliance by Rajwar, cynically sums up the environment: “Everything here is an act, from pretending to care to pretending not to care.” Geeta’s bleak philosophy underscores the film’s moral complexity—if the law is unjust, then perhaps true justice requires breaking it.

Santosh’s moral compromises are not born of malice but of survival. Suri’s empathetic lens reveals the desperation that drives her, though that sympathy frays when Santosh participates in the torture of the case’s only suspect—a young Muslim boy, positioned even lower in India’s rigid social hierarchy than the Dalits. In these harrowing moments, the film recalls Claude Zidi’s dark comedy Les Ripoux, as Geeta mentors Santosh in navigating the murky waters of systemic corruption. Geeta’s lessons are brutal: to survive in this environment, one must not only accept but sometimes enforce its cruelty.

Santosh Goswami’s portrayal is a masterclass in nuance. Her performance oscillates between vulnerability and unsettling brutality, capturing both the intoxicating rush of newfound authority and the creeping dread of realizing that power is fleeting. She embodies the paradox of a woman who has risen slightly above the oppressed, only to become an instrument of their oppression. Her internal struggle reflects a universal truth: proximity to power can corrupt, even as it fails to shield one from the very injustices it perpetuates.

Beyond its searing critique of caste and corruption, Santosh has sparked a separate debate tied to its international reception. Despite being an Indian film, spoken in Hindi, and featuring an Indian cast, it was selected by the United Kingdom as its submission for Best International Feature Film at this year’s Academy Awards. This choice raises questions about national representation in global cinema. Can a film so intrinsically tied to Indian realities authentically represent the UK on the world stage? Or does this decision reflect the increasingly fluid boundaries of cinematic identity in a globalized world?

Regardless of its Oscar trajectory, Santosh stands as a powerful work of political art. Suri’s film doesn’t offer easy answers or moral clarity. Instead, it immerses viewers in the gray areas where survival and complicity intertwine. The film’s unflinching gaze forces audiences to confront uncomfortable truths—not just about India’s caste dynamics, but about the universal human tendency to adapt to injustice when survival is at stake.

At its core, Santosh is more than a crime story. It’s a meditation on power—how it’s gained, wielded, and ultimately how it corrupts. It challenges the notion of heroism, suggesting that in a system designed to oppress, even those with the best intentions can become perpetrators. Suri’s direction ensures that every frame carries the weight of this moral ambiguity, from the dusty, sun-bleached streets of the village to the claustrophobic police station where justice goes to die.

In the end, Santosh’s journey is less about solving a crime and more about navigating the moral wreckage left in its wake. The film’s haunting final moments linger long after the credits roll, a stark reminder that in places where justice is a performance, the cost of playing along is one’s soul.

The year 2024 witnessed an overwhelming response to Allu Arjun’s blockbuster Pushpa 2: The Rule, which not only generated massive buzz but also shattered numerous records. With fans already speculating about its next chapter, the way the second installment concluded strongly hints that Pushpa 3 promises to be even more electrifying. Recently, music composer Devi Sri Prasad, a crucial part of the franchise’s success, shed light on the phenomenon surrounding Pushpa 2 and offered insights into plans for its much-anticipated sequel.

In a conversation with India Today, Prasad confirmed that director Sukumar is already in the initial stages of crafting Pushpa 3. He took a moment to express his heartfelt appreciation for the film’s achievements and credited the collaborative efforts of the team. “I am very thankful to director Sukumar, my dear friend Allu Arjun, the producers, and the entire team of Pushpa. I am also grateful to the lyricists and language contributors who played a big role in making this film such a hit,” Prasad remarked.

The composer commended Sukumar’s ingenuity in storytelling and Allu Arjun’s commitment to his craft, which he believes have been pivotal in elevating the franchise to its current stature. “Sukumar sir has created an amazing world with Pushpa, and the love it’s receiving makes me very happy. Pushpa 1 was a huge success in both music and storytelling, and the success of Pushpa 2 has truly made history,” he elaborated.

Anticipation for Pushpa 3

While fans eagerly await the third chapter, Prasad addressed the weight of expectations and his approach to managing creative challenges. When asked about Pushpa 3, he explained, “I don’t take pressure when it comes to work, as it can affect creativity. While working on Pushpa 2, Sukumar sir, lyricist Chandrabose, and I gave our best effort. We will bring the same dedication to Pushpa 3 and aim to make it just as remarkable. Sukumar sir’s vision and brilliant scripts continue to inspire us.”

Prasad also shared that one of his primary goals is to match the musical magic he created for the second installment. The iconic soundtrack of Pushpa 2 became a sensation, contributing significantly to the film’s success and raising the bar for its sequel. With such a strong foundation, the team appears motivated to deliver another unforgettable cinematic experience.

Fans of the franchise are now brimming with excitement, eager to see how Pushpa 3 builds upon the legacy of its predecessors. Director Sukumar, Allu Arjun, and the rest of the creative team have undoubtedly set the stage for yet another thrilling installment in this record-breaking saga.

Indian director Payal Kapadia’s film All We Imagine As Light has won the Best International Feature award at the prestigious New York Film Critics Circle (NYFCC) Awards. This achievement marks a significant milestone for Indian cinema and highlights Kapadia’s growing reputation as an influential filmmaker on the global stage.

Kapadia, an alumna of the Film and Television Institute of India (FTII), gained international recognition with her directorial debut. The film has been celebrated worldwide, including a notable victory at the 2024 Cannes Film Festival, where it received the Grand Prix award. During the NYFCC awards ceremony, Kapadia expressed her excitement and shared a personal moment, revealing that celebrated actress Jodie Foster had watched the film twice. The anecdote further underscored the film’s widespread appeal and impact.

The NYFCC also shared Kapadia’s acceptance speech on the platform X, previously known as Twitter, giving audiences a glimpse into her heartfelt gratitude and pride in the recognition her work has received.

Kapadia’s All We Imagine As Light was also a formidable contender at the 82nd Golden Globe Awards, securing nominations in two major categories: Best Director (Motion Picture) and Best Motion Picture – Non-English Language. The film’s nominations were a testament to its artistic brilliance and the depth of Kapadia’s vision.

Despite its critical acclaim, the film did not win in either category at the Golden Globes. The Best Motion Picture – Non-English Language award went to Emilia Pérez, a Spanish-language French musical crime comedy directed by Jacques Audiard. Meanwhile, the Best Director award was claimed by Brady Corbet for his work on The Brutalist.

While the Golden Globe outcomes were disappointing for Kapadia and her fans, the film’s victory at the NYFCC Awards has reaffirmed its status as a cinematic masterpiece. This honor has also highlighted Kapadia’s extraordinary talent and further solidified her standing as a noteworthy figure in international filmmaking.

Kapadia’s journey from an FTII graduate to an internationally celebrated filmmaker demonstrates the power of Indian cinema to resonate with audiences worldwide. All We Imagine As Light continues to be a source of pride for Indian cinema, serving as an example of how storytelling can transcend cultural and linguistic boundaries.

Reflecting on her achievements, Kapadia’s success at the NYFCC Awards not only celebrates her individual brilliance but also serves as a reminder of the increasing global recognition of Indian filmmakers. As she continues to break barriers and push creative boundaries, Kapadia is undoubtedly a name to watch in the years to come.

This remarkable trajectory underscores her contribution to Indian cinema and its growing presence on the global stage, proving that stories rooted in local experiences can hold universal appeal. Her film’s journey has left an indelible mark, inspiring aspiring filmmakers and bringing Indian cinema closer to a worldwide audience.

By securing the NYFCC Best International Feature award, Kapadia has achieved yet another milestone, cementing her place in the pantheon of directors who are redefining the cinematic landscape.

The Academy of Motion Picture Arts and Sciences has unveiled the list of films eligible for the 97th Academy Awards, scheduled for March 2, 2025, at the Dolby Theatre in Los Angeles, California. A total of 323 films are in contention across various categories, with a separate list of 207 movies vying for the coveted Best Picture award.

Among the 207 films competing for Best Picture, six Indian films have made the cut: Aadujeevitham (also known as The Goat Life), Santosh, Putul, Swatantrya Veer Savarkar, All We Imagine as Light, Kanguva, and Girls Will Be Girls. One of the most surprising inclusions is the Tamil period action drama Kanguva, which faced significant challenges at the box office despite its massive production scale.

Starring Suriya in the lead role and directed by Siva, Kanguva was produced on an extravagant budget of approximately Rs 350 crore. Unfortunately, the film failed to resonate with audiences due to what critics described as poor direction and a predictable storyline. The movie’s performance at the box office was underwhelming, earning a net domestic collection of Rs 70 crore and a worldwide gross of Rs 106 crore. This financial performance marked Kanguva as the biggest Indian box-office disappointment of 2024. Alongside Suriya, the movie featured Bobby Deol as the antagonist and Disha Patani as the female lead.

The Oscars nomination voting process is set to commence on January 8, 2025, and will close on January 12. The final list of nominees will be revealed on January 17, adding excitement as the prestigious event approaches.

While Aamir Khan and Kiran Rao’s film Laapataa Ladies did not make it to the shortlist for the Best International Feature Film category, India still has potential for recognition at the Oscars. Guneet Monga’s production Anuja has been shortlisted in the Best Live Action Short Film category. Meanwhile, Payal Kapadia’s All We Imagine as Light, which has already garnered significant acclaim at various international film festivals, is anticipated to secure several nominations, further elevating India’s prospects at the 97th Academy Awards.

India’s journey to the Oscars this year highlights a mix of high hopes and notable challenges. The inclusion of six Indian films in the Best Picture race underscores the diversity and global reach of Indian cinema. Among them, All We Imagine as Light stands out due to its impressive track record at international festivals, where it has won numerous accolades.

Director Payal Kapadia’s work in All We Imagine as Light has been praised for its compelling narrative and visual storytelling. The film’s potential to secure multiple nominations signals the growing recognition of Indian arthouse cinema on the global stage. Industry experts and critics have noted that the movie could become a significant contender in categories beyond Best Picture, reflecting the strength of its creative execution.

On the other hand, the inclusion of Kanguva in the Best Picture list has sparked debate within the industry. Despite its financial setbacks, the film’s nomination represents the evolving criteria for cinematic recognition, where aspects such as cultural impact and ambition are increasingly valued. “The production scale of Kanguva is undeniable, and it showcases the potential of Indian cinema to compete globally, even if box office numbers don’t align with expectations,” noted a prominent film analyst.

Another Indian entry, Swatantrya Veer Savarkar, also generated buzz due to its historical significance and unique narrative focus. Directed by Mahesh Manjrekar, the biopic sheds light on the life and contributions of Vinayak Damodar Savarkar, a prominent figure in India’s freedom struggle. The film’s critical reception has been mixed, with praise for its performances but some criticism regarding its historical interpretation. Nonetheless, its inclusion in the list reflects a growing appreciation for films rooted in India’s rich history and culture.

Adding to the diverse slate, Aadujeevitham (The Goat Life), based on the best-selling novel by Benyamin, is another strong contender. Directed by Blessy, the film follows the life of a migrant worker in Saudi Arabia and has been lauded for its emotional depth and realistic portrayal of the struggles faced by Indian expatriates. Its selection emphasizes the global relevance of stories that delve into human resilience and cultural identity.

Films like Girls Will Be Girls and Putul have also captured attention for their unique themes and independent filmmaking approaches. Both movies have been celebrated for challenging conventional storytelling norms and providing fresh perspectives on societal issues.

India’s representation at the Oscars this year is bolstered further by Guneet Monga’s Anuja, which has made it to the shortlist for Best Live Action Short Film. Monga, known for her Academy Award-winning documentary Period. End of Sentence, continues to make waves with her storytelling. Anuja has been described as an emotionally gripping tale that resonates with audiences worldwide, offering another example of India’s growing prowess in the short film category.

Reflecting on these developments, industry observers have highlighted the increasing global acknowledgment of Indian cinema’s creative diversity. “It’s an exciting time for Indian filmmakers, as the industry is expanding its horizons and telling stories that resonate universally,” said a noted film critic.

With the Oscars 2025 on the horizon, India’s film community is eagerly awaiting the announcement of final nominations on January 17. Regardless of the outcomes, the inclusion of these films in the eligibility and shortlist categories is a testament to the evolving narrative and artistic achievements of Indian cinema. The journey from being contenders to potential winners could mark another milestone in India’s cinematic legacy on the global stage.

When the first installment of Pushpa released in 2021, its success in the Hindi-speaking regions of India set the stage for an epic sequel. Fans and industry insiders alike speculated whether Pushpa 2 could surpass the monumental success of Baahubali 2: The Conclusion. Now, the sequel has not only met expectations but also shattered records, becoming the highest-grossing film in India’s box office history. The Hindi belt played a crucial role in this achievement, as the film emerged as the top grosser in nearly every state within the region, with just a few exceptions.

With this milestone, Pushpa 2 joins an elite group of around 20 films that have held the title of the highest-grossing movie in Indian cinema’s history. This list chronicles the evolution of box office dominance over the decades. While earlier films, particularly before Mother India (1957), may also have claimed the title, there is little reliable box office data from that period. However, starting with Mother India, the documentation of India’s box office champions has become clearer and more consistent.

The earliest known record-holder, Kismet (1943), is credited as the first Indian film to achieve a net domestic gross of Rs. 1 crore. At the time, this figure encompassed regions that are now Pakistan, Bangladesh, and Myanmar. From there, Indian cinema has experienced exponential growth, with each new box office champion reflecting a growing audience base and a more globalized appeal.

Below is a chronological list of India’s highest-grossing films, showcasing their release years and box office collections:

It is important to note that box office collections before 2008 are approximate due to inconsistent data. Furthermore, numbers before 1990 are even less reliable, and figures from before Mother India are often avoided altogether due to the lack of verifiable records.

The success of Pushpa 2 underscores the ever-growing influence of Indian cinema, both domestically and internationally. Its unprecedented box office run highlights how regional films can resonate across linguistic and cultural boundaries, uniting audiences through universal storytelling and larger-than-life characters.

As Indian cinema continues to expand its reach and evolve, each new record-breaker reflects the industry’s increasing ambition and ability to capture the imagination of diverse audiences. Pushpa 2’s remarkable achievement is yet another testament to the power of cinema as a cultural and economic force.

Anurag Kashyap’s recent remarks have sparked conversations about Bollywood’s declining connection with its core audience. The filmmaker criticised the Hindi film industry for producing subpar content compared to South Indian cinema and argued that this negligence has paved the way for South Indian films, including dubbed versions, to dominate even in the Hindi-speaking regions. Speaking to The Hollywood Reporter India, Kashyap expressed frustration with the flawed distribution strategies that hampered his films’ reach.

Reflecting on the challenges during the pandemic, Kashyap shared that two of his critically acclaimed films, Gangs of Wasseypur and Mukkabaaz, were not given wide releases in North India. He explained that studios wrongly assumed his films appealed only to urban audiences in metropolitan cities such as Delhi, Mumbai, Chandigarh, and Hyderabad, disregarding the broader Hindi-speaking regions in the North. Kashyap described this as a significant misjudgment, stating that such decisions underestimated the appeal of his films among their natural audience base.

The filmmaker recounted an incident illustrating the studio’s neglect of smaller regions. A theatre owner from Bihar had reportedly pleaded with Eros, the production house, to release one of Kashyap’s films in their area. However, the studio rejected the request, citing the cost of producing an additional Digital Cinema Package (DCP) for the region as unjustifiable. Kashyap criticized this decision as emblematic of Bollywood’s shortsightedness, contrasting it with the success of South Indian films in similar markets.

According to Kashyap, South Indian films have thrived in Hindi-speaking regions because Bollywood failed to cater to its core audience. He elaborated on how YouTube channels exploited this gap. “We make Hindi films, but we have ignored the Hindi film audience. The advantage was taken by this man who created the YouTube channel ‘Goldmines’. He started acquiring South Indian films at cheap rates, dubbed them into Hindi, and catered to that Hindi-speaking audience. That audience grew so much that Pushpa 2’s trailer was released in Patna,” Kashyap remarked.

The director highlighted how these channels acquired South Indian films at low costs, dubbed them into Hindi, and tapped into an audience that Bollywood had neglected. Over time, this audience grew significantly, leading to a stronger demand for South Indian cinema in regions traditionally dominated by Bollywood.

Kashyap also reflected on the shifting admiration of audiences in the Hindi-speaking belt. “The same audience, which once adored Bollywood stars like Amitabh Bachchan and Govinda, now also recognizes and celebrates South Indian stars with equal enthusiasm,” he observed.

By pointing out Bollywood’s failure to adapt its distribution strategies and content creation to meet the expectations of its core audience, Kashyap painted a stark picture of the industry’s struggles. His remarks underscore a critical issue that Bollywood must address to regain its foothold among Hindi-speaking audiences.

The fourth weekend of Allu Arjun’s Pushpa 2: The Rule showcased yet another display of cinematic dominance, outshining all recent Indian releases in theaters. Despite fresh competition, the film maintained its stronghold as the top choice for moviegoers. As the weekend ended, Pushpa 2 moved closer to a significant benchmark at the worldwide box office. Here’s a detailed analysis of the film’s remarkable performance over 25 days.

In India, the Sukumar-directed film continued to thrive at the box office, holding a firm grip on ticket sales. According to BookMyShow, the film saw massive sales over the weekend. On the fourth Friday, Pushpa 2 garnered ₹9.75 crores, which rose significantly to ₹13.80 crores on Saturday. The upward trend continued on Sunday, with ₹15.65 crores added to its total. Overall, the movie collected ₹39.20 crores net across all languages in its fourth weekend at the Indian box office.

By the end of its 25-day run, the Indian box office earnings for Pushpa 2 reached an extraordinary ₹1179.85 crores net (across all languages). When taxes are factored in, the gross figure stands at ₹1392.22 crores. On the international front, the movie added ₹3 crores during the weekend, bringing the overseas gross total to ₹288.25 crores. Combined, the film’s global gross stands at an impressive ₹1680.47 crores.

As the film approaches its 1700-crore milestone at the worldwide box office, this landmark achievement is expected within the next 3-4 days. With just ₹19.53 crores remaining to reach this target, Pushpa 2 is set to cement its position among the biggest box office successes in Indian cinema history.

Worldwide Collection Breakdown for Pushpa 2: The Rule

• India Net: ₹1179.85 crores
• India Gross: ₹1392.22 crores
• Overseas Gross: ₹288.25 crores
• Worldwide Gross: ₹1680.47 crores

Released on December 5, Pushpa 2: The Rule stars Allu Arjun in the lead role, alongside a stellar ensemble cast featuring Rashmika Mandanna, Fahadh Faasil, Jagadeesh Prathap Bandari, Jagapathi Babu, Rao Ramesh, and Sunil.

The film’s remarkable performance is a testament to its widespread appeal and the charisma of its lead actor, Allu Arjun. With a gripping storyline, stellar performances, and exceptional direction, Pushpa 2 continues to captivate audiences across the globe. As one fan noted, “It’s not just a movie; it’s a celebration of Allu Arjun’s brilliance.”

Having already delivered a historic run, Pushpa 2 shows no signs of slowing down as it marches toward the coveted 1700-crore milestone.

For the third consecutive week, Jigra and Amaran have claimed spots on Netflix’s global list of most-watched non-English films. Jigra, led by Alia Bhatt, offers a gender-flipped take on the iconic angry young man archetype from Bollywood’s golden era, with Manoj Pahwa and Vivek Gomber supporting her performance. Meanwhile, Amaran, starring Sivakarthikeyan as Major Mukund Varadarajan, pays tribute to the Indian soldier’s legacy. Sai Pallavi also delivers a heartfelt portrayal of the soldier’s wife.

Despite a disappointing theatrical release, Jigra premiered on Netflix on December 6 and has continued to captivate viewers. In the week ending December 22, the film garnered 1.8 million views and 4.5 million watch-hours, ranking fourth on the list. Initially debuting in the seventh position, it climbed to third in its second week. Director Vasan Bala, who co-wrote the script with Debashish Irengbam, expressed pride in Bhatt’s dynamic role, saying, “It’s a character Bollywood hasn’t seen before.”

Similarly, Amaran entered Netflix’s lineup on December 5 after a strong box office run. Ranked sixth for the week ending December 22 with 1.3 million views and 3.6 million watch-hours, the film previously held fourth and sixth slots during its initial weeks. Directed by Rajkumar Periasamy, the movie’s compelling narrative continues to resonate with audiences.

Another standout performer is Vicky Vidya Ka Woh Wala Video, marking its second consecutive week on Netflix’s list. Directed by Raaj Shaandilyaa, this quirky title, starring Rajkummar Rao, Tripti Dimrii, and Mallika Sherawat, recorded 1.2 million views and 2.9 million watch-hours in the same period. Having debuted in the fourth position, it now occupies the seventh spot. Reflecting on the film’s reception, Shaandilyaa shared, “Audiences are loving the fresh narrative and performances.”

The documentary Yo Yo Honey Singh: Famous, directed by Mozez Singh, made a striking debut on Netflix’s list, securing the eighth spot. The film delves into the life of the Punjabi rapper and Bollywood musician, chronicling his meteoric rise and dramatic fall during the 2010s. With 1.1 million views and 1.4 million watch-hours in its first three days, it’s a testament to Honey Singh’s enduring appeal. Singh remarked, “This is a story of fame, struggle, and redemption that resonates universally.”

Among web series, the third season of Mismatched clinched the ninth slot on Netflix’s global list of most-watched non-English shows. Featuring Prajakta Kohli and Rohit Saraf, the show amassed 1.4 million views and 7.4 million watch-hours. Directors Akarsh Khurana and Nipun Dharmadhikari continue to captivate fans with this coming-of-age tale. Kohli, reflecting on the show’s success, said, “Mismatched is more than a story; it’s an emotion that connects with its audience.”

Dulquer Salmaan’s Lucky Baskhar has also maintained its momentum, securing the third spot on Netflix’s global non-English films list for the week ending December 22. With 2 million views and 5 million watch-hours in its fourth week, the film demonstrates staying power. Directed by Venky Atluri, the movie, which debuted on Netflix on November 28 after a moderate box office performance, also stars Meenaakshi Chaudhary and Maganti Srinath. Salmaan shared, “The film’s heartfelt story and relatable characters are the reason behind its success.”

Sikandar Ka Muqaddar, directed by Neeraj Pandey and featuring Jimmy Shergill, Avinash Tiwary, Divya Dutta, and Tamannaah Bhatia, has similarly retained a spot on Netflix’s list for four weeks. With 1 million views and 2.5 million watch-hours, it ranked ninth for the week ending December 22. After debuting at fourth and then rising to third, the film continues to find its audience. Pandey commented, “This is a tale of resilience and justice that strikes a chord with viewers.”

These titles exemplify the growing demand for diverse stories in global entertainment. With unique narratives and captivating performances, they have successfully captured the attention of Netflix audiences worldwide.

Amid the buzz surrounding the Allu Arjun-starring Pushpa 2: The Rule and its massive box office success, a contrasting reality emerges in Andhra Pradesh. The action drama, portraying Arjun as a red sanders smuggler, has collectively earned around Rs 1,500 crore from its first and second parts. However, the state government struggles to earn even a fraction of that amount from its red sanders auctions, with international buyers showing little interest in the prized wood.

Red sanders, also known as red sandalwood, is a rare species found in Andhra Pradesh’s Rayalaseema region. It is listed under the Convention on International Trade in Endangered Species of Wild Fauna and Flora, which prohibits its felling or sale by private entities. However, India received special permission to remove red sanders from the endangered list, allowing its sale under strict government authorization.

Despite this relaxation, Andhra Pradesh—the primary authorized seller of red sandalwood in India—has failed to find buyers in the international market since the onset of the Covid-19 pandemic. The species, valued for its use in traditional medicine and luxury goods, remains unsold, compounding the government’s challenges in leveraging its auction potential.

Pandemic Paralyzes Red Sanders Trade

The Seshachalam Hills, one of India’s most biodiverse regions, continues to face rampant smuggling of red sanders even as legal sales have stalled. Since 2020, the Andhra Pradesh government has not managed to sell a single tonne of the wood in international auctions. China, which was previously the primary market for red sandalwood, has significantly reduced its demand.

A government source disclosed, “Since the pandemic began, no red sandalwood has been sold at any international auctions. The global economic slowdown has affected demand, with China, in particular, cutting back.”

This downturn contrasts with Andhra Pradesh’s earlier efforts. Since the 1990s, the government has conducted 24 rounds of international auctions, generating Rs 1,800 to Rs 1,900 crore—an amount only marginally higher than the earnings of Pushpa.

The most recent auction attempt, held in November and December this year, saw the government offering 905 tonnes of red sandalwood. Unfortunately, not a single tonne was sold. Officials attribute this failure to the lingering economic impact of the pandemic and cautious international buyers.

High-Value Logs in Storage

Currently, Andhra Pradesh has been authorized by the Directorate General of Foreign Trade to auction 11,000 tonnes of red sanders. However, approximately 4,000 tonnes remain unsold and are stored in a high-security depot in Tirupati.

The wood is classified into three grades: A, B, and C, with A-grade being the highest quality. In past auctions conducted under the Telugu Desam Party government, A-grade red sandalwood fetched between Rs 1 crore and Rs 1.5 crore per tonne. Today, its value has dropped to around Rs 75 lakh per tonne, reflecting the market’s slump.

Despite these challenges, government officials are unwilling to lower the prices further. A senior official explained, “We expect demand to rebound. Reducing prices now could encourage smugglers to exploit the situation, manipulate the market, and form cartels.”

A Persistent Issue

The economic struggles of legal red sandalwood trade starkly contrast with the illicit smuggling activities that continue unabated. The Seshachalam Hills remain a hotspot for illegal trade, even as the state government battles to find legitimate avenues for profit.

While the box office success of Pushpa 2 showcases the commercial allure of red sanders smuggling as a cinematic theme, the reality for Andhra Pradesh’s government is far less glamorous. The state’s inability to sell even a tonne of its prized wood in recent years underscores the complex interplay of environmental regulations, global market conditions, and economic uncertainties.

As Andhra Pradesh waits for international demand to recover, the stark contrast between Pushpa’s fictional narrative and the real-life challenges faced by the state serves as a telling commentary on the complexities of red sanders trade.

The Indian film All We Imagine As Light has garnered significant recognition internationally, achieving rare acclaim at prestigious events like the Cannes Film Festival and the Golden Globes. Despite this, the film has not received similar admiration in its home country, India. The international success, which included standing ovations and glowing reviews, was largely overlooked domestically. Moreover, the film was not selected as India’s official entry for the Oscars, a decision that has puzzled many cinema enthusiasts and critics alike.

Set and shot in Mumbai, All We Imagine As Light explores complex themes of human emotion, resilience, and the intersection of tradition and modernity. The director, a young filmmaker known for pushing boundaries, has described the film as “a deeply personal story that reflects universal truths.” The narrative follows the intertwined lives of its characters, delving into their struggles and aspirations, all against the vibrant backdrop of Mumbai.

Critics abroad have praised the film for its artistic depth, innovative storytelling, and visually stunning cinematography. At Cannes, it received a standing ovation, with one reviewer calling it “a masterpiece that transcends cultural barriers.” The Golden Globes also recognized its brilliance, awarding it Best Foreign Language Film. “The film speaks to a global audience while staying rooted in its cultural essence,” noted an international critic.

However, in India, the reception has been starkly different. Despite the international buzz, the film was largely ignored by mainstream audiences and even by the selection committee responsible for India’s Oscars entry. The committee chose another film that, while popular at the box office, lacked the artistic depth and critical acclaim of All We Imagine As Light.

Industry insiders have speculated on why the film hasn’t resonated domestically. One producer, who requested anonymity, suggested, “The Indian audience often leans toward entertainment-driven cinema. Films that challenge norms or delve into introspective themes sometimes struggle to find a foothold here.”

The director expressed disappointment but remained philosophical about the situation. “Recognition is always gratifying, but my focus has always been on telling stories that matter,” they said. “The global acclaim reassures me that the message of the film is resonating somewhere.”

This disconnect between international recognition and domestic indifference is not new for Indian cinema. Over the years, many critically acclaimed films have faced similar challenges, often sidelined in favor of more commercially viable options. Some attribute this trend to the industry’s heavy reliance on box office performance as a measure of success.

A Mumbai-based film critic elaborated, “There’s a significant gap between what international audiences and the Indian masses expect from a film. While one group appreciates artistic nuance, the other often seeks escapism.” The critic added that this divide highlights the challenges faced by filmmakers attempting to bridge these contrasting sensibilities.

In addition to audience preferences, the lack of robust marketing for All We Imagine As Light in India might have contributed to its subdued reception. Without aggressive promotional campaigns, the film struggled to capture attention in an industry dominated by big-budget productions and star power.

Nonetheless, the film’s success on the global stage has sparked conversations about the evolving landscape of Indian cinema. Some believe that its recognition abroad could pave the way for greater appreciation of experimental and meaningful storytelling in the country. “Films like this show that Indian cinema is capable of competing on a global platform,” remarked a young filmmaker inspired by the movie’s journey.

While the decision to bypass the film for the Oscars may remain a point of contention, the creators of All We Imagine As Light are optimistic about its legacy. The director concluded, “Art doesn’t always need validation to have an impact. This film has already achieved more than I ever imagined.”

With its poignant narrative and international acclaim, All We Imagine As Light stands as a testament to the power of Indian storytelling, even if its brilliance is yet to be fully embraced at home.

India’s journey to the 2025 Oscars now depends on Anuja, a live-action short film produced by Guneet Monga, following the elimination of Kiran Rao’s Laapataa Ladies from the race in the International Feature Film category. On Tuesday, the Academy of Motion Picture Arts and Sciences unveiled the shortlists for ten categories for the forthcoming 97th Academy Awards, dashing the hopes pinned on Laapataa Ladies.

Selected as India’s official entry for the Best International Feature Film category, Laapataa Ladies failed to progress to the next stage, leaving fans and filmmakers across the country deeply disappointed. Despite this setback, there is still a glimmer of hope for Indian cinema at the Oscars.

Guneet Monga’s Anuja has made it to the shortlist in the Best Live-Action Short Film category. This film addresses the significant issue of child labor in the garment industry, featuring Nagesh Bhonsle in a pivotal role. The selection of Anuja represents a continuation of Monga’s successful association with the Oscars, as this marks her third nomination. Her previous projects, The Elephant Whisperers and Period: End of Sentence, both won Oscars, elevating the global reputation of Indian cinema.

Reflecting on her achievement, Monga stated, “The Oscars have always been a platform to showcase impactful stories, and I am thrilled that Anuja has been recognized. This is a story that needs to be told, and I hope it resonates globally.”

In addition to Anuja, another film connected to India remains in contention at the Oscars. The British-Indian production Santosh, directed by Sandhya Suri, is vying for recognition. Featuring Shahana Goswami in a key role, Santosh is the United Kingdom’s official entry for the Academy Awards. Earlier this year, the film garnered attention when it premiered in the Un Certain Regard section of the Cannes Film Festival, further solidifying its credentials as a strong contender.

The Academy announced a total of 30 films shortlisted across the categories of Best Live-Action Short and Best Animated Short Films. Among the live-action contenders, titles like Clodagh, The Compatriot, Crust, Dovecote, Edge of Space, and The Ice Cream Man have also been shortlisted, adding to the excitement of the competition.

As the 97th Academy Awards draw closer, Indian cinema enthusiasts will be watching anxiously, hoping that Anuja can replicate the past successes of Indian films at the Oscars. Monga’s commitment to highlighting socially relevant stories through her films ensures that India’s voice remains strong on the global stage.

With Anuja leading the charge, the focus now shifts to the next round of voting, where the final nominees will be decided. For now, the anticipation continues as fans rally behind this powerful short film, which holds the promise of keeping India’s Oscar dreams alive.

On Thursday, authorities revealed that Telugu actor Allu Arjun will face legal charges in connection with a tragic stampede outside a Hyderabad theatre during the premiere of his much-anticipated film Pushpa 2: The Rule. The incident, which occurred on Wednesday evening, resulted in the death of a 35-year-old woman and left her nine-year-old son hospitalized. The actor attended the screening unannounced, a factor that contributed to the chaos.

The Sandhya Theatre, where the event took place, is also under scrutiny for inadequate crowd control measures. Hyderabad Police Commissioner CV Anand commented on the situation, stating, “There was no intimation from the side of theatre management or actors team that they will be visiting the theatre.” The lack of coordination between the actor’s team and the theatre has been cited as a significant failure in ensuring the safety of attendees.

The victim, identified as Revathi, succumbed to injuries caused by asphyxiation when the overcrowded venue turned into a scene of mayhem. Her son, Teja, who was also affected by the stampede, is undergoing treatment for serious injuries. According to reports, Allu Arjun arrived at the theatre accompanied by music director Devi Sri Prasad, drawing an overwhelming crowd eager to catch a glimpse of the star. The lack of prior notification regarding their visit is being considered a critical oversight.

Theatre administration, already facing charges, reportedly failed to implement enhanced security measures to manage the large turnout. Despite knowing of the actor’s plans to attend, no special arrangements were made. CV Anand emphasized this, stating that neither the actor nor the theatre management acted responsibly to ensure public safety.

The situation worsened when the main gate of the theatre collapsed under the pressure of the surging crowd. Security personnel resorted to using lathi charges to control the crowd, but the efforts were insufficient to prevent tragedy. Revathi’s family has called for accountability from both the actor and the theatre management. They have also requested Allu Arjun’s support, both in addressing the incident and in compensating for their loss.

The Hyderabad Police have initiated an investigation into the incident, filing cases under various sections of the Bharatiya Nyaya Sanhita. “Stringent action as per law will be taken against all the persons responsible for the chaotic situation inside the theatre leading to the death of a person and injury to others,” affirmed Commissioner Anand.

At the time of the report, neither Allu Arjun nor representatives of the Sandhya Theatre had issued a statement. As investigations continue, the focus remains on determining the exact sequence of events and holding all responsible parties accountable.