Udita Jhunjhunwala

The History of Sound is a quiet, deliberately paced film about missed chances and unresolved lives. Directed by Oliver Hermanus and adapted by Ben Shattuck from his short stories The History of Sound and Origin Stories, the film traces one man’s journey through music, memory and emotional restraint. The story opens in rural Kentucky in 1910, where Lionel Worthing (Paul Mescal) grows up on a farm dutifully following in his family’s commitment to physical labour, finding release through song. “It never occurred to me that music was only sound,” Lionel reflects, a line that establishes music as something far larger than art. It is also a means of survival, a repository of memory, and conduit for connection. When a local teacher recognises his singing ability and helps him secure a scholarship to the New England Conservatory of Music in Boston, the opportunity briefly lifts Lionel out of a dead-end life.

28 Years Later: The Bone Temple is an unsettling, often punishing sequel that connects directly and deliberately to Danny Boyle’s 28 Years Later (2025), while escalating the franchise’s visual and thematic intensity. Where Boyle’s film found terror in suggestion and absence (screams heard but not seen, horror registered in the faces of those left behind) director Nia DaCosta brings that terror into full view. Violence is explicit, gore is confrontational and discomfort is sustained rather than fleeting.

Director Noah Baumbach joins forces with George Clooney to deliver a sharply observed, melancholic study of celebrity, memory and regret. Clooney plays Kelly, a Hollywood icon forced to shake off the stardust and confront the impact of his choices. As he drifts between denial and self-awareness, he confronts the fallout of decades lived at the centre of his own universe. What Baumbach attempts, and often pulls off (but not throughout) with considerable elegance, is a meta-fictional story of an ambitious man’s hubris. This is a film about Jay watching his own mythology crumble, only to realise and awaken to a truer, humbler version of himself.

Thode Door Thode Paas is a comedy drama that explores a modern family’s attempt to unplug and reconnect. Set in the lively Mehta household, the ZEE5 series follows Simran (Mona Singh), who runs a bridal wear boutique out of her garage, her husband Kunal (Kunaal Roy Kapur), an online numerologist, their 19-year-old daughter Avni (Ayesha Kaduskar) and school-going son Vivaan (Sartaaj Kakkar). Kunal has added four extra As to his son’s name to fix his fortunes, yet his report card doesn’t have even one A.

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.