Sangeetha Devi Dundoo

When things take a dark turn in Rana Naidu season two, Rana (Rana Daggubati) tries to reassure his daughter Nitya (Afrah Sayed) that everything will be fine. She retorts that nothing will ever be the same. This exchange encapsulates the story’s core, which follows the consequences of Rana’s actions as a fixer in Mumbai, tasked with managing the scandals of celebrities. Written by Karan Anshuman and Ryan Soares, with dialogues by Vaibhav Vishal, the series is directed by Suparn S Varma, Karan Anshuman and Abhay Chopra. It traces Rana’s attempts to protect his family while continuing his long-standing conflict with his father, Naga Naidu (Venkatesh Daggubati). Loosely adapted from the American series Ray Donovan, the first season drew criticism for making Venkatesh, a long-time favourite in Telugu family films, deliver frequent expletives for shock effect. The new season offers a more restrained portrayal. Venkatesh avoids most of the profanity, though others around him do not. Unlike the first season, which opened provocatively, this one begins with Venkatesh practising pranayama — the calm before the storm.

It is tough to look at 23 (Iravai Moodu) solely as a film. The indie-spirited Telugu venture based on real incidents, written and directed by Raj R, is part social commentary, presented in a docu-drama style. Armed with a cast that includes 25 newcomers and a few established names, Raj questions if the justice system is equal to everyone. George Orwell’s statement from Animal Farm, ‘All are equal, but some are more equal than others’, sets the tone of the film that wants its audience to look at crime and its perpetrators through different perspectives. The film’s premise is shaped by three incidents that shook undivided Andhra Pradesh in the 1990s. In 1991, the Tsunduru massacre witnessed brutal caste violence against Dalits. In 1993, 23 passengers lost their lives after two Dalit men set a bus on fire in Chilakaluripet. In 1997, a car bomb explosion in Film Nagar, Hyderabad, reportedly killed 26 and injured several others.

Last year, the Telugu film 35: Chinna Katha Kaaduasked viewers to consider why zero — seemingly without value — becomes greater than nine when placed after a one. The message was a subtle but effective way of empowering students struggling with mathematical concepts. This year, director Sunny Sanjay returns with Anaganaga, streaming on ETV Win, which presents science lessons — ranging from eclipses to the role of red and white blood cells — through short, story-driven episodes. At the heart of the film is Vyas Kumar, a storyteller-teacher played with quiet sincerity by Sumanth, in one of his most nuanced roles. He brings learning to life for children who find traditional methods difficult to absorb. Loosely adapted from the Marathi film Eka Kay Zaala, Anaganaga opts for simplicity, using its narrative as a gentle teaching tool. Like Taare Zameen Parand 35, it follows a familiar underdog arc, delivering its message with warmth and clarity without talking down to its audience.

It is always a joy when a modest film swings big and lands comfortably, andSubham, a Telugu horror comedy, does just that. Marking actor Samantha Ruth Prabhu’s debut as a producer, the film is directed by Cinema Bandi’s Praveen Kandregula and written by Vasanth Maringanti. On the surface, it is a spooky comedy, but at heart, it is a sharp commentary on gender sensitivity — made all the more effective by smart writing and charming performances. Set in the early 2000s, in the pre-internet days of coastal Bheemili, undivided Andhra Pradesh, the story begins with a sweetly awkward pelli choopulu (an arranged marriage meet-cute) between Srinu (Harshith Reddy), a cable TV operator, and Sri Valli (Shriya Kontham), a bank employee. The backdrop — where cable still reigns while satellite TV starts inching in — adds nostalgia without overwhelming the narrative.

In a scene from HIT: The Third Case, a character describes Arjun Sarkaar’s (Nani) actions as “classy”. Arjun retorts that this time, he intends to show his true self — stepping away from the image of refinement often associated with him. In another moment, when someone warns him that he “cannot survive here”, he responds, “I’ve been hearing that since the beginning of my career.” These meta-cinematic lines feel less like commentary on the character and more like nods to the actor himself. In HIT 3, director Sailesh Kolanu leans into fan service, casting Nani — long embraced by family audiences — in a darker, bloodier setup. The film carries an ‘A’ certificate, and Nani effectively sheds his man-next-door image to become a ruthless cop whose methods, unsurprisingly, come under scrutiny. Departing from the slow-burn whodunit tone of the earlier films, this third instalment in the HIT universe trades mystery for carnage. It is not about who, how, or even why — the perpetrators are beyond reasoning. The real question is whether the film successfully marries crime thriller elements with full-throttle action to offer a gripping cinematic experience. Some segments land powerfully; others feel stretched or overly engineered.

Watching director Bhaskhar Maurya’s Telugu film Muthayya, now streaming on ETV Win, feels like shedding the trappings of urban life and settling into an unhurried rural setting, surrounded by affable characters. The story centres on a 70-year-old man from a village in Telangana, who dreams of becoming a film actor and seeing himself on the big screen — just once in his lifetime. Age may not be on his side, but his zest for life remains undiminished. Humour weaves gently through the narrative. In an early scene, two men climb a water tank to unveil a banner. Someone remarks, in the Telangana dialect, “Yem peekindu?” (What did he achieve?). We soon find out. At the heart of the story is Muthayya (played by Sudhakar Reddy of Balagamfame), who owns a modest plot of land that overlooks open fields and distant hills. Each evening, he retreats to his simple dwelling on the land, sharing a drink or two with his much younger friend Malli (Arun Kumar), who runs a cycle repair shop in the village.

Oscar Wilde’s semi-comic tale Lord Arthur Savile’s Crime, published in 1891, follows an aristocrat’s absurd efforts to commit a murder before marrying his fiancée — purely because a palm reader foretells it as his destiny. Writer-director Mohanakrishna Indraganti reimagines this premise within the framework of a contemporary Telugu household, weaving in sharp social commentary, reflections on the film industry and social media culture, while also tipping his hat to the comedic sensibilities of Telugu and Tamil cinema greats like Jandhyala and ‘Crazy’ Mohan. It may sound like a lot to pack in — but Sarangapani Jathakam is a surprisingly smooth blend of social satire and screwball comedy, anchored by an excellent cast, particularly Priyadarshi Pulikonda and Vennela Kishore.

A scene in the final portions of the Telugu action drama Arjun S/O Vyjayanthi offers a moment of shock, establishing how far the protagonist would go to protect a loved one. Barring that moment, the film is an outdated relationship drama of a mother and son who find themselves at opposite ends of a flawed system. Had the makers approached the story with a new narrative style, perhaps the story’s emotional crux would have had the necessary impact. Instead, the film squanders the potential with its formulaic approach and gets tiresome with each passing action sequence. Vijayashanthi’s formidable presence and Kalyan Ram’s earnestness are in vain. The film unravels with a series of introduction sequences. Vijayashanthi’s introduction sequence doffs its hat to her iconic, tough-as-nails police officer characters in the 1990s. It establishes how she does not buckle under pressure, putting her own safety at risk. As the action sequence unravels, the film, written and directed by Pradeep Chilukuri, is aware that audience will not question how her young son reaches her in the forest even before the rescue team.