Upendras UI is a film with a challenging and surreal narrative that explores intelligence, identity, and societal norms. The films opening cards may seem like an abstract puzzle designed to test the viewers mind. It begins with a bold disclaimer, urging the intellectually discerning to leave, while daring those who stay to embrace their own folly. This sets the tone for the film, which defies traditional narrative structure and plunges into a complex world of unsettling truths, inviting viewers

Anyone actively following Indian cinema for the past couple of years knows that anti-hero is the new trend among protagonists. They behave in unconventional, often morally dubious manners, and yet theres an aspirational coolness to their portrayal. In Bachhala Malli , we get a stylish action sequence with Malli (Allari Naresh) early on, showcasing him in all the swagger that a hero is expected to carry. And yet when the title credit drops, its after a visual of Malli being literally down in the

The story of a reluctant leader rising to power is always a charming idea. One of the most iconic animated characters, Mufasa , seems tailor-made for such an idea. However, Mufasa: The Lion King is hit-and-miss lacking emotional depth. The film begins with Simba (Donald Glover) carrying on the legacy of his beloved father Mufasa (Aaron Pierre) and ruling the Pride Lands with love, justice, fairness, and valour. He rushes to help his wife Nala (Beyonce), who is in trouble, leaving his daughter Ki

Ever since its announcement, Marco has been promoted as the most violent film from Malayalam. All the promos, including the posters, songs and teaser, screamed violence and bloodbath. After watching the film, its safe to say that these claims werent mere marketing ploys. Forget Malayalam, Marco has some of the most disturbing moments ever seen in an Indian film. But the problem is, theres no real purpose or method to the endless spree of killings, which are as gory as they can get. Why is Marco

Aashiq Abus Rifle Club ends on a soaring high, but when the credits start rolling, at least some might feel discontent. Not because the film is bad, but because it seems to get over too soon. Considering the dwindling attention span of todays audience, filmmakers are wary of long runtimes, but still, something like a Rifle Club deserved more. It definitely promised more. With an army of interesting characters and their interpersonal dynamics to follow, one is left with no choice but to be glued

Who knew a mattress could spark a revolution? Premiered at the International Competition section at the 29th International Film Festival of Kerala (IFFK), Fasil Muhammeds directorial debut Feminichi Fathima (Feminist Fathima) takes the mundane and turns it into a masterful satire. A womans quiet rebellion against a controlling husband and stifling traditions becomes a hilarious and deeply moving battle for financial independence. Set in the coastal town of Ponnani, the film transforms a seemingl

An adolescent girl looks at herself in the mirror. She measures her overgrown axillary hair and applies cream to the corners of her face. A peppy, suggestive song begins to play. Her routine actions take on a rhythm. She breaks into a dance, admiring herself and basking in the sleepy glow of the afternoon sun. She sees herself in a new light. She had just met a boy. Shuchi Talatis Girls Will Be Girls is a story of discovery, filled with such tender moments. Every gesture, every glance conveys so

Indu Lakshmis Appuram (The Other Side) is a tender yet unflinching portrayal of familial bonds tested by psychological fragility and societal oppression. Selected for the International Competition section at the 29th International Film Festival of Kerala (IFFK), this evocative film weaves an intense drama with a sharp critique of regressive traditions that still persist. Set against the backdrop of a middle-class family, Appuram unfolds through the eyes of Janaki (Anagha Ravi), a teenage girl ca

Haritha Goginenis Fear sets out to navigate the labyrinth of a troubled mind, offering an ambitious portrait of schizophrenia and childhood trauma. While the premise teases an immersive psychological horror film, the execution falters, leaving viewers with a film that promises depth but delivers little beyond surface-level thrills. At the heart of the story is Sindhu, played by Vedhika, a woman surrounded by mysterious threats and haunted by her own fractured psyche. As she grapples with the dis