Udita Jhunjhunwala

Edward Berger makes a dramatic and thematic shift from his previous movie Conclave with Ballad of a Small Player. Conclave was a taut, fictional feature about the secretive papal elections at the Vatican. Ballad of a Small Player, which is out on Netflix, is an occasionally tense, atmospheric and over-stylised character study set in Macau’s glittering gambling halls. Adapted by screenwriter Rowan Joffe from Lawrence Osborne’s 2014 novel, the film explores cycles of addiction and greed against a backdrop of ritual, superstition and neon decadence. Colin Farrell plays Lord Doyle, a British gambler with mounting debts and a troubled past.

Darren Aronofsky’s Caught Stealing is a crime thriller with a shot of black comedy. Adapted by author Charlie Huston from his own noir 2004 novel, the film, set in New York City in 1998, follows bartender Hank Thompson, played with remarkable physical and emotional commitment by Butler. Hank was once a promising minor-league baseball player. He now drifts through life as a bartender, carrying teenage trauma and regrets. When a neighbour asks him to look after his pet cat, a seemingly innocent favour propels Hank into a vortex of gangsters, corrupt cops and psychotic debt collectors. What begins as a noir caper unfurls into an Aronofsky psychodrama: a man’s descent into chaos, filmed with a feverish intimacy that’s both thrilling and affecting.

Within weeks of its release in 2022, Rishab Shetty’s Kannada film Kantara (Mystical Forest) became a pan-India hit. The narrative, rooted in local tradition, explored dynastic clashes and faith colliding with human greed. The film connected so strongly with audiences, that it spawned prequels (chapter 2 is set to follow). Where the earlier film was an unassuming, near-folk tale that blossomed into something both mythic and weighty, this prequel is undoubtedly far more confident, backed by a much larger budget that permits the creator’s sprawling vision to come alive on screen but propelled by the same passion. This is a super-sized film—thrilling in parts, sometimes overexerted.

Shashank Khaitan’s Sunny Sanskari Ki Tulsi Kumari feels like a film that’s already over before it begins. The title practically spoils its own ending. What we experience is a 135-minute journey which is more of a decorative detour than a meaningful ride. Packed with lavish costumes, picturesque Udaipur, endless pre-wedding functions, than one can count, this is the kind of movie that dazzles the eyes but barely stirs emotions. Khaitan and producers Dharma have embraced what one could call ‘wedding album cinema’—opulent sets, attractive costumes and meticulous staging. High on style, but low on logic or storyline.

For as long as Bollywood has existed, dynasties have shaped its stories, both on and off screen. Shah Rukh Khan, however, was the self-made outlier—the Delhi boy who rewrote the rules of stardom. His son Aryan Khan inherits not just wealth and visibility, but the paradox of being heir to self-made Bollywood royalty. So, when Aryan steps forward as writer-director of The Ba***ds of Bollywood, the series is inevitably being measured against not just his craft but his surname also. From its opening frames, The Ba***ds of Bollywood announces itself as more than just another OTT drama. Aryan’s debut as director is glossy, meta, and occasionally satirical, as eager to lampoon the industry as it is to luxuriate in its glossy surfaces. The series is, in many ways, a tug-of-war between love and resentment: for the power of Bollywood mythology, for the spectacle of its excess, and for the suffocating hierarchies that govern who belongs and who does not. That tension animates the show, and also exposes its unevenness.

The premise of the Prime Video series Do You Wanna Partner promises fizz: two women dare to launch a craft beer start-up in Delhi, taking on the boys’ club of the alcobev industry. Shikha (Tamannaah Bhatia) and Anahita (Diana Penty) are best friends who set out to build their own brewery. Shikha is fuelled by the unrealised dream of her late father, Sunjoy (Indraneil Sengupta). Sunjoy’s beer brand Gondogol was snatched away by businessman Vikram Walia (Neeraj Kabi, sporting a Cruella-inspired hairdo to suggest a villainous streak). Anahita is the pragmatic financial anchor, Shikha’s often lonely partner-in-entrepreneurship who is overcoming her own issues with being taken seriously at work.

Inspector Zende, written and directed by Chinmay Mandlekar, announces itself as “a story inspired by true events that looks like a fairy tale”. It’s meant as parody, not fact, but even judged on those terms, the film struggles. International Indian-Vietnamese criminal Charles Sobhraj has previously been captured in filmed entertainment in Black Warrant, Main Aur Charles and The Serpent, while Madhukar Zende, who gained national fame after the famous arrest of Sobhraj in Goa, was also the subject of a 2023 documentary called Zende. Mandlekar’s Netflix film opens in Bombay, 1986, but the characters refer to the city as Mumbai, the first of many period inconsistencies since the city’s name didn’t officially change till 1995. The film reimagines Charles Sobhraj, the notorious 1970s conman and serial killer, as Carl Bhojraj (Jim Sarbh). In 1986, Sobhraj, or in this case Bhojraj, escaped from Tihar Jail after drugging duty officers and slipping out with four fellow inmates. Enter Inspector Zende (Manoj Bajpayee), the cop who once arrested the international criminal in 1971, and is now tasked with bringing him in again.

The Roses is director Jay Roach and screenwriter Tony McNamara’s reimagining of the 1989 film The War of the Roses, which starred Michael Douglas and Kathleen Turner in an untamed marital war. In the 2025 version, Benedict Cumberbatch and Olivia Colman take on the marital troubles of a modern couple in this black comedy that feels at once familiar and also entirely new. Ivy Rose (Colman) and Theo Rose (Cumberbatch), negotiate the challenges of professional and personal life as they move from unshakable love to complete hatred. The Roses’ love story starts just as impulsively as it ends—passionate, spontaneous, till death do them part. She’s a chef, he’s an architect. They move from the UK to California to explore and expand their creativity.