Manoj Kumar

Mithya is an intimate story of a young boy struggling to make sense of his life, which has been shattered into countless pieces after his parents pass away. It marks director Sumanth Bhat’s feature film debut. Previously, he helmed the Kannada web series Ekam, also co-produced by Rakshit Shetty. Mithya sheds light on the internal turmoil of an 11-year-old boy, Mithun. Taken in by his aunt’s family after his mother dies by suicide — leaving him and his younger sister orphaned — he is uprooted from Mumbai, where he was born and raised, and placed in the slow, quiet countryside of Udupi. He prefers to be called Mithya, but adjusting to his new reality is far from easy.

If you saw the poster for The Brutalist, featuring Adrien Brody squinting his eyes, staring straight at you in a low-angle shot, cigarette in mouth, with streaks of fire flying across, you might take him for an Italian-American gangster. Especially since The Brutalist sounds like the perfect title for a gangster flick, set in late 1950s America, adding to its vibe as the ultimate land of freedom and wild wealth. But The Brutalist isn’t that. It’s about architecture — big, heavy, concrete-and-steel stuff. These imposing structures mirror the post-World War II psyche. For those untouched by the war’s direct traumas, these brutalist buildings might feel cold and uninviting, even ugly. But for those who have endured the dehumanising horrors of war, they represent something deeply intimate.

On Nayanthara’s 40th birthday, Netflix unveiled a documentary series, Nayanthara: Beyond the Fairy Tale, chronicling her journey in the film industry. The series opens with her disappointment over not securing permission to hold her dream wedding at the Tirupati temple and transitions to her eventual wedding at a picturesque beachside glasshouse, attended by the who’s who of Indian cinema.

Shivarajkumar’s portrayal of Bhairathi Ranagal in the 2017 movie Mufti was a monumental success. His iconic look—featuring coloured khadi vestis and shirts—became a trendsetter, even inspiring Nandamuri Balakrishna’s style in Veera Simha Reddy. It’s no surprise that the filmmakers were tempted to delve deeper into the character and cater to the audience’s appetite for more. After all, the market rarely gets it wrong, right? Fast forward seven years and director Narthan brings us Bhairathi Ranagal, the origin story of this beloved character.

A characteristic in all of director Siva’s movies that I strongly dislike is the lack of subtlety in emotions and reactions. Everything is loud—and sometimes even louder than Boyapati Srinu’s films. But if you can look past this trait, Kanguva might just be one of the most cinematic spectacles you’ve experienced in theatres in a long time.

Amaran is based on the life of Major Mukund Varadarajan, who died during an anti-terror operation in Jammu and Kashmir in 2014. Biopics like this come with a unique challenge: since audiences already know the outcome, there’s little room for surprises. Directors often leverage the emotional depth of such stories to create resonance, sometimes stirring complex emotions or evoking our deepest fears. Filmmaker Rajkumar Periasamy, as expected, focuses on these emotional elements, ultimately leaving the audience with a deeper understanding of the human conflict hidden beneath layers of turmoil.

While promoting his latest movie, Lucky Baskhar, director Venky Atluri claimed that one of his biggest strengths is his talent in screenwriting. However, those closely following his filmography would tell you that his ability to assemble a stellar cast is his greatest asset. He once again showcases this strength with Lucky Baskhar.

Director Amal Neerad’s latest movie Bougainvillea is a slow-burning thriller that offers more strengths than weaknesses in its entertainment value. Set against the backdrop of an unreliable memory, the film borrows elements from classics like Memento and The Usual Suspects, while crafting a uniquely Malayalam narrative.