Rahul Desai

Being a true-crime drama in the Indian streaming landscape is like being an aspiring batsman in India’s cramped bylanes and crowded fields. Everybody is one — and everybody is advised to be one. Consequently, it’s harder to stand out. The default level has to be high: an engrossing story, a solid cast, a sense of place and time, technical competence. Most shows opt for an atmospheric setting to conceal a convoluted plot; the logic is that a visually striking tone will compensate for pacing and structural issues. In other words, the style can distract from a lack of substance. But Manvat Murders, helmed by Aatmapamphlet (2023) director Ashish Avinash Bende, is a Marathi-language series that does the reverse.

In 2018, Aneesh Chaganty’s Searching put the life in screenlife. It marked the natural progression of ‘screenlife storytelling’ — a visual format where events happen entirely on computer screens, smartphones and cameras — into the real world. Until then, the horrors of technology had been literalised by the found-footage and supernatural genres. But Searching featured a father who looks for his missing daughter by following her digital footprints. His internet sleuthing reveals how little he really knew her; the technology he uses to find her is what had isolated her to begin with. Vikramaditya Motwane’s CTRL goes a step further; it expands the plausibility of the genre by unfolding in an age that puts the screen in screenlife. CTRL marks its progression into the reality of a virtual world — one where being watched is simply a natural consequence of feeling seen.