Janani K

Director Arun Matheswaran returns to familiar territory with DC — a world where ordinary people are crushed by a broken system, women carry the scars of male brutality, and revenge is the only language left for justice. Like Rocky and Saani Kaayidham before it, DC is steeped in blood, grief and moral ambiguity. This time, though, Arun wraps his recurring themes in a stylish revenge thriller with unexpected twists, pulsating action and enough emotional heft to justify the violence. Devadas (Lokesh Kanagaraj) is a gangster with no intention of leaving crime behind. He and his men are riding high after ambushing a police convoy and making off with a cache of discarded weapons. Around the same time, a grieving woman approaches Das, claiming policemen killed her husband and stole the money meant for her son’s education. Having carried the grief of losing his own mother for years, Das has a soft spot for women in distress, and decides to help her — killing the policeman responsible and forcing his own gang into hiding.

What starts as the foundation work for an eight-lane highway soon turns into a politically sensitive investigation when a human skeleton is unearthed at the construction site. A punishment posting brings police sub-inspector Moosa Raaza (Sasikumar) to Madurai, where he is entrusted with solving the high-profile case. As Raaza begins piecing together the mystery, the investigation leads him to Mani (Yashwanth), whose past gradually reveals the truth behind the decades-old crime. Although Vadhandhi Season 2 carries forward the franchise name, it tells a completely independent story. Unlike the first season starring SJ Suryah, this one does not require any prior knowledge, making it an easy watch for everyone.

Did you know that India’s best innovator, Gopalaswamy Duraiswamy Naidu aka GD Naidu, hailing from Coimbatore was branded a lunatic, terrorist and tax dodger? G.D.N. opens with a group of teachers belonging to a textbook committee debating whether he deserves a chapter in the school syllabus. Director Krishnakumar Ramakumar’s G.D.N. then takes us on a journey to the early 1910s when GD Naidu discovered his passion for everything mechanical. It’s his love for motors that led him to manufacture the first electric motor in India, among his other discoveries in various sectors. But, innovators like him always face adversaries at every step. GD Naidu was no exception.

Crores of people are flocking to theatres across the globe to watch Jana Nayagan and bid farewell to the man who entertained them for over three decades. Every cheer, every whistle and every celebration is for one person. Thalapathy Vijay. No, strike that. It’s Chief Minister Vijay now. Is Jana Nayagan an emotional goodbye to an actor or a rousing welcome to the Chief Minister? Neither, as it turns out — it’s mostly just a film that can’t decide what it wants to be.

Tamil cinema fans from the ’90s have grown up hearing Idhayam Murali in their everyday life. For those who don’t know the context, late actor Murali acted in a film titled Idhayam, where his love remains one-sided as he never confesses his feelings. Little did anyone know it would become a pop culture term. Decades later, Murali’s son Atharvaa is headlining Idhayam Murali, playing a character who just cannot bring himself to confess his love.

The world always teaches you that you are a nobody in the larger scheme of things. Prithviraj Sukumaran and Parvathy’s I, Nobody explores a similar theme, but goes one step ahead to ask a much-needed question: What does a nobody have to do to get justice? In one of the film’s crucial scenes, a police official explains to Prithviraj’s Rajeevan the concept of the food chain – but with a twist. The grasshopper, at the bottom of the pyramid, should not just eat grass. It should eat the frog that preys on it. That’s how cut-throat the world is.

There are very few mainstream Indian shows willing to build an entire story around sex education without reducing it to awkward jokes or moral sermons. Super Subbu, Netflix’s first Telugu original series, deserves credit for attempting exactly that. Directed by Mallik Ram, the seven-episode dramedy takes an inherently uncomfortable subject and wraps it in humour, family dynamics and small-town eccentricities. For a while, it works beautifully. But just when it seems ready to say something meaningful, the series retreats into safe territory, leaving several of its strongest ideas hanging.

In 2018, director Venkatesh Maha waltzed into Telugu cinema with the path-breaking C/o Kancharapalem, one of the industry’s finest films of the decade. After Uma Maheswara Ugra Roopasya and an episode in Modern Love Hyderabad, the filmmaker is back with Rao Bahadur – a film that Mahesh Babu and Namrata Shirodkar saw enough potential in to present. It hit theatres on July 3.