Nonika Singh

Classic text, a terrific performance not just by its lead heroine Tessa Thompson but other actors too, writing which is both faithful to the original plot and takes its own leap of faith and imagination — ‘Hedda’ is certainly not your average film. Neither is it a frame-by-frame adaptation of the OG. Reimagining famed Norwegian playwright Henrik Ibsen’s play ‘Hedda Gabler’, giving it a queer spin, ‘Hedda’ is obviously held together by its titular character.

The MHCU (Maddock Horror Comedy Universe) has gained much success for blending horror with comedy, delivering one superhit after another in the genre it almost reinvented with ‘Stree’. As yet another much-awaited outing of the indigenous franchise hit the screens, expectations were sky high. Not only does ‘Thamma’ come from the production house which lately can boast of hitting the bull’s eye each time, it also has an unusual pair worth rooting for.

Two excellent actors, thriller genre, a real story and an authentic setting… ‘Bhagwat Chapter One: Raakshas’ seems to possess very many ingredients that make for a gripping fare. Indeed, the film starts off well: a girl has gone missing. Arshad Warsi, as Inspector Vishwas Bhagwat, has serious anger management issues and gets a punishment posting in the same town. He has a backstory, which is just hinted at to begin with, but explains both his anger and passion to go after criminals like a man possessed. His investigation into this particular case not only leads him to many more missing girls, but also dead end after dead end, until a breakthrough presents itself.

It’s just another whodunit on the face of it, but packs pertinent points as it unfolds. The title itself is a giveaway. The very first scene shows flashes of a brutal killing. Here onwards, we come to the heart of the series: Konkona Sen Sharma. She is ACP (Crime Branch) Sanyukta Das, who is about to leave Mumbai to join her husband (a credible special appearance by Mukul Chadda) in Ahmedabad.

In 2022, when Rishab Shetty’s ‘Kantara’ hit the screens, the breath of fresh air wrapped in originality and ingenuity swept not just his home state Karnataka but the country at large like a storm. Three years later, as the prequel, once again an amalgamation of folklore, rituals and the ancient Indian belief system rooted in Kannada culture, makes its tryst with big screens, it’s a tornado. Only, it will sweep you off your feet for all the right reasons. Call it a cinematic marvel, an ethereal experience, masterclass in how not to get a franchise wrong, ‘Kantara’s’ prequel reinforces how legends are born. Shetty, writer-director and lead actor, proves resoundingly how ‘Kantara’ was no fluke, only a flash of the multitalented genius that he is. Shetty ups the game in all aspects. Story-telling with writing support from Anirudh Mahesh and Shanil Guru, world building or treatment, he does not falter in any department.

For those of us who survived Covid-19, the epidemic is today only a bad memory. For millions who suffered indignities first-hand, the grave tragedy has been buried in numbers and figures. What those screaming headlines could not touch within our hearts, today reaches us as ‘Homebound’ leaps on to the big screen.

We all loved Arshad Warsi as Jolly LLB. We were equally entertained by Akshay Kumar-starrer part two, but sorely missed the absence of OG Jolly Arshad. So when part three brings them both together, clearly, expectations are raised exponentially. The writer-director of all three instalments, Subhash Kapoor, once again manages to blend comic with gravitas, wit with righteousness. Third time may lose some of its inherent charm, but is not a lost cause either. Indeed, like its prequels, ‘Jolly LLB 3’ has a huge conscience. The preface establishes the burning concern of farmers’ land acquisition and steeps the narrative in emotional gravity and dignity. Despite a serious start, it leapfrogs to the antics of the two endearing Jollys. Akshay is Advocate Jagdishwar ‘Jolly’ Mishra. Arshad is Advocate Jagdish ‘Jolly’ Tyagi.

Life is real, life is magical. And when a movie brings these two elements of reality and fantasy together, which doesn’t happen too often in the Indian film industry, the result can be a thing of beauty, a joy to behold. As it is with director Raam Reddy, of National Award-winning film ‘Thithi’ fame, whose Hindi feature ‘Jugnuma: The Fable’ literally grows on you and glows like fireflies. The title itself tells you that the subject at hand is surreal. The very first scene, in which we see Manoj Bajpayee flying with a wing-like contraption, tells you that nothing is what it seems. There is a fable at play which comes rather innocuously in the narrative. Set in the 1980s in Himalayan mountains, shot close to the Indo-Nepal border, the pace is as idyllic as the setting. Bajpayee as Dev is the owner of vast orchards, which he has inherited down the family line from his ancestors, who served the British masters. Deepak Dobriyal, whom we are so used to seeing in comic parts, has an equally significant and sombre part. He is not only the manager of the estate but also the commentator letting us into the twists and turns, the inner crevices of the story. Not that this is a whodunit mystery that makes you sit on tenterhooks. If you have seen the trailer, you know fires will soon engulf this beautiful orchard.