The 20 Best Indian Movies of 2024 (2025)

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The year 2024 will be noted as a better one for Indian cinema, particularly for its storytellers. It was a year when promising mainstream directors broke their shell to narrate familiar tales with a personal and empathetic touch. A significant national conversation revolved around the country’s need for constructive cinematic literacy. The preference for Kiran Rao’s ‘Laapataa Ladies’, an enjoyable yet flawed film, over Payal Kapadia’s luminous Grand Prix-winning work, highlighted the myopic vision of India’s film circles towards non-Hindi films. It also exposed the inadequate male-centric views of a National Board of thirteen middle-aged male apologists, particularly in their perception of femininity.

This list aims to be broader, more informed, and naturally, more willing to engage. Featuring a mix of surprisingly well-crafted Hindi films and outstanding regional productions, a prominent feature of Indian cinema this year has been the fluidity of spoken dialogue used by many films. This break from linguistic and traditional constraints has enabled these films to clearly express their love or critique for the times and places they project.

20. Premalu | Malayalam

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To my surprise, I found myself thoroughly enjoying “Premalu.” At first glance, the film seems to take a conventional route, aligning with the typical expectations of a light-hearted romantic comedy. To an extent, Director Gireesh A. D. follows a familiar formula, which isn’t my cup of tea. However, “Premalu” sets itself apart from other saccharine romances by infusing genuine emotional depth, especially in portraying the central couple’s bond. The journey toward the film’s climax might be a bit erratic and excessively dramatic. But it somehow works, primarily due to the heartfelt performances of the lead actors, who bring their characters to life with remarkable sincerity.

Furthermore, the film skilfully balances its trendy charm with a grounded sense of relatability, even as it explores the well-known landscape of Bollywood-style romance. It portrays love not just as a common thread of human connection but as a profoundly personal and individual experience. The film respects the integrity and individuality of its characters, presenting their love stories without glossing over the complexities and imperfections of real-life relationships.

Where to Watch:

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19. Laapataa Ladies | Hindi

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Kiran Rao’s “Laapataa Ladies” emerges as a refreshingly sincere and straightforward Hindi film, a rarity in the current entertainment landscape. It’s a delightful rural tale set in the fictional Nirmal Pradesh of 2001, evoking nostalgic memories for those of us who recall visits to Uttar Pradesh and Bihar villages, enriched with authentically down-to-earth details. The film’s strength lies in its ability to marry intelligent dialogue with a heartwarming love story, making its educational message both entertaining and impactful.

This approach is not without its appeal, as it deftly weaves in feminist themes with a certain allure that can transport you to the DD days, even if you are not really from that era. Yet, there were times I yearned for scenes where the film’s modest and rural backdrop would take center stage, challenging norms much like the beloved series “Panchayat” did across its two seasons on Prime Video. In any case, “Laapataa Ladies” is a very colorful film, offering a fond nod to a time of simplicity.

Where to Watch:

18. Deep Fridge | Bengali

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Shakun Batra’s “Gehraiyaan” stood out when it came as a Farhadi-esque Hindi adaptation of “Match Point,” offering a domestic noir take on the complexities of infidelity among Indian millennials. Despite its flaws in filmmaking and writing, the film was praised for its mature handling of such a delicate subject. On the other hand, “Abyakto” director Arjunn Dutta returns with “Deep Fridge,” a film that, while less sexually charged, delicately unravels marital discord with economical storytelling.

“Deep Fridge” follows an elite couple trapped in their former home on a stormy night, structured in a classic three-act narrative. Swarnava, an introspective Indian man with a quirky habit of sitting by open fridges, is compelled to revisit his past when he’s isolated with Ronja, his wife and former student, whose affair with him was once a public scandal. Meanwhile, Mili struggles with her feelings for Asif, a successful painter, as she grapples with the new dynamics of her relationship with Swarnava. The film’s predictability doesn’t detract from the intense exploration of the couple’s past, leading to sleepless conversations and anxious confrontations as they seek closure. In the process, what comes out is a well-formed relationship drama that is hopeful without being ornamental or derivative.

Where to Watch:

Unfortunately, we couldn’t find any streaming offers for Deep Fridge.

17. Girls Will Be Girls | Hindi, English

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Shuchi Talati’s “Girls Will Be Girls” is not only a warm and engaging coming-of-age film but also serves as a poignant commentary on the upbringing of young and impressionable children in India. The film patiently and confidently delves into the life of a school all-rounder, reflecting on the broader scope of Indian parenthood and guardianship that often hinders the growth and development of girls by excusing the toxic behaviors and mistakes of boys. Beyond this, it is a captivating and intimate examination of the nuanced relationship between a mother and daughter, culminating in the full bloom of realizations.

While certain segments of the film may seem protracted, the integrity of the narrative remains intact, largely due to the sensitive and insightful lead performance by debutante Preeti Panigrahi. Her portrayal of Mira resonates deeply, mirroring the kind of internal struggle that is challenging to depict on screen. Suffice to say, the performance is textured with such rhythm that it reminded me of my own school life. Kani Kusruti’s portrayal as a Malayali mother adds a distinct flavor to the film’s emotional palette.

Where to Watch:

16. Lubber Pandhu | Tamil

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The subgenre of sports movies, while innately familiar, comes with its own set of contradictions. On one hand, every great film must strive to break the mould and differ from a fixed pattern in its own original ways. On the other hand, centring your film on a known sport means dealing with a game of fixed rules. While most mainstream sports dramas sacrifice their flavour and nuance at the altar of this sameness, debutant director Tamizharasan Pachamuthu delivers his unique voice as a storyteller by making the setup itself more palatable. To the eye, the film looks like another tedious gully cricket movie shoehorned into a slightly more organic love marriage rom-com.

However, the framing of this exhausting narrative is what makes Lubber Pandhu such a great film. Without compromising the template in which every blow, sixer and knockout has to be a defining “mass” moment, the film amplifies the sounder aspects of its world-building. For instance, it has a very immersive and clear arc of caste-based discrimination getting in the way of talent being recognized. But instead of becoming a message movie in which the noble intent is being spoon-fed, the film opts for a neat resolution that is fascinating without being cheeky. Also, at heart, the film is actually a powerful and hard-hitting tale of how ego-clash between men can become threats to their personal relationships. Apart from the ingenious mainstream writing, the film also benefits from the solid performances by a very talented ensemble, spearheaded by a brilliant Gethu Dinesh. This also makes it one of the best-acted Indian films of the year.

Where to Watch:

15. CTRL | Hindi

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In the wake of the pandemic, screenlife thrillers have emerged as a prevalent genre, mirroring the digital-centric lifestyle that many have adopted. “CTRL” is a prime example of this trend, encapsulating the essence of the genre with its premise. The film navigates the familiar narrative of humanity’s deep-seated reliance on technology, unfolding a case-study style narrative that serves as a cautionary tale about society’s digital dependency. Vikramaditya Motwane’s astute character study elevates the film, delving into the protagonist Nella’s naive online behaviour. Through her journey, the film exposes her feelings of creeping isolation and loneliness, offering a critique of consumerism that resonates with the audience as it parallels real-life stories often heard and read.

Ananya Panday has established herself as the babyface of Hindi cinema’s long-standing subset of ‘sad gloss’. However, her portrayal of Nalini in “CTRL” is a testament to her solidity and self-awareness as an actor, marking a much-needed pinnacle in her career. There is a slight, sensitive and empathetic approach she brings to the character, a woman who has consciously relinquished control over her life to the forces of technology and societal expectations.

Where to Watch:

14. Aavesham | Malayalam

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In his latest film following the success of “Romancham,” Jithu Madhavan offers another colorful portrayal of Malayali bachelors who find a sense of belonging in the bustling urban environment of Bangalore. “Aavesham” distinguishes itself as a dynamic action-comedy that delivers what fans crave. It features a well-crafted script that reveals Fahadh Faasil’s character—a whimsical gangster—as an intimidating and gentle paternal figure. His character’s anger and humor emerge at the most unexpected moments in the plot.

While the film occasionally indulges in over-the-top scenes and unpredictable campiness that may stray from the naturalistic charm of Madhavan’s first, a horror-comedy, it approaches its genre with fervent enthusiasm. The movie’s energetic commitment to transforming a talented actor into a classic masala film hero is quite remarkable.

Where to Watch:

13. Aattam | Malayalam

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Aattam” delves into the complex dynamics of power in the workplace and the superficial sense of entitlement that often accompanies gender politics within patriarchal structures. The film unfolds almost in real-time, presenting a gripping narrative that examines familiar figures such as a temple priest and a seasoned actor. Obsessed with their own importance, the male characters overlook the rationality and moral compass of the sole female member, blinded by materialistic pursuits. This tension mirrors the intense drama of Lumet’s “12 Angry Men.”

“Aattam” is notable for its nuanced performances that unfold layer by layer and a script that shines without being ostentatious. It cleverly reveals the flawed viewpoints of the male characters, thereby affirming the strength and complexity of its central female character. “Aattam” is an intelligent Malayalam film that rewards attentive viewing.

Where to Watch:

12. Stree-2 | Hindi

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I’d like to start with a disclosure: I was among the few who did not enjoy Stree, the precursor to Amar Kaushik’s latest addition to his indigenous horror-comedy universe in Bollywood. While I could appreciate the smart casting and the consistently creative dialogues, the horror elements and feminist undertones didn’t quite resonate with me. However, Stree 2 significantly builds upon the strengths of its predecessor. With writing that is humorously rich in its tangible small-town essence, it features sleek and well-timed performances alongside adept genre transitions. The integration of visual effects and cameos is also finely tuned to the narrative.

The film introduces ‘Sarkata’, a central demonic figure that is essentially a decapitated head, and delves into a sharp satire of the dreadful and obstinate institution known as patriarchy. It forcefully advocates for female autonomy, subtly overturning the ‘male savior’ trope without generalizing it. Straddling the fine line between simplicity and naivety, the film concentrates on its visual appeal and the genuine portrayal of Chanderi’s idiosyncratic small-town setting. For the most part, it is an engaging and visually impressive production that advances progressive themes without being self-congratulatory.

Where to Watch:

11. Meiyazhagan | Tamil

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With 96 (2018), director C. Prem Kumar gently revealed his gift of embedding empathy and tenderness in his stories. The simple act of homecoming catalyses a love story from the past to find closure in the present in that film. His latest, Meiyazhagan, feels like an assured confession to his younger self. It is another compelling tribute to the earthly charm of homecoming, in which a middle-aged man returns to his roots after years of being haunted by its last few memories, only to reconcile with them by the help of a distant yet loving relative cornered by the dust of time.

The premise, while engaging, is quite simplistic. Arulmozhi’s two decades’ worth distance from his hometown grows even more tense upon reaching when he fails to recognize a young cousin who idolises him. But the acting performances are so evocative and the narrative core so well-formed that a simple dilemma feels nearly supernatural in its intensity. Aravind Swamy’s sweet and sensitive charm is a perfect fit with the electrifying mainstream rusticity of Karthi.

This materialises into a sweet and moving companionship drama. An even more important trait of Meiyazhagan is how intelligently it uses its funny and tender, even tear-jerking moments to construct an ecosystem in which men can cry and acknowledge their feelings with ease.

Where to Watch:

10. Kill | Hindi

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Nikhil Nagesh Bhat is an astute writer known for his clever storytelling. In his latest film, he skillfully weaves a Bollywood-inspired love story with a straightforward dramatic buildup leading to a violent climax that occupies a relentless one-and-a-half hour. However, he smartly relegates this aspect to the background. What emerges is arguably the most intelligent and intense martial action thriller in Hindi cinema to date, complete with a mainstream appeal that fits perfectly.

“Kill” is a testament to powerful action cinema. It demands that viewers temporarily suspend their disbelief, but in return, it offers a deeply satisfying movie experience. The film’s narrative is so intimately connected to its setting that it creates a deeper, more resonant impact on the audience than any shallow story could hope to.

Where to Watch:

9. Kishkindha Kaandam | Malayalam

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Dinjith Ayyathan’s mystery thriller is both taut and compelling on the surface, with twists and turns that are sharply presented as pieces of information. These are not exactly hidden from view but are disclosed only when necessary. The setting in the monkey-populated reserve forests of Kerala’s Kallepathi heightens the mystery, as the woods become a foundation for buried secrets and the charred remains of truth. Utilizing a dementia patient’s forgetfulness and selective memory as a trigger renders the investigative aspect of the story even more intense and intriguing. Like all gripping mysteries, the climax is crafted to completely take the rug off audience’s feet.

Yet, the most striking aspect of Kishkindha Kaandam is how pronounced its feelings are. The title, derived from the fourth book of Valmiki’s Ramayana, reflects themes of familial dysfunction, guilt, and grief that arise from the ‘law of the jungle,’ where strength reigns supreme. In the film, it’s not just a series of odd events, but also the introduction of a perceptive and empathetic woman in the family that uncovers its long-concealed, dark truths. As a narrative about the impact of grief and the human takeover of love over morality, Ayyathan’s eloquently written movie becomes all the more moving. This renders Kishkindha Kaandam one of the most incisive thrillers and poignant family dramas of the year.

Where to Watch:

8. Anubhuti | No Spoken Language

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Anirban Dutta’s film “Anubhuti” is like a gentle breeze carrying the sound of wind bells, creating a soothing experience that one wishes would last forever. This wordless romantic musical is brought to life with the poetry of an ancient poetess, weaving a story that captivates with its simplicity. The beauty of the film lies in its roots in Bengali ideas and Brajbhasha presentation, breaking through language to share the celestial yet earthy love story of Radha and Krishna and Meera Bai’s unwavering devotion to Krishna.

Enriched by references to Jayadeva’s lyrical masterpiece, Gita-Govinda, the narrative ingeniously incorporates Radha into the pantheon of Hindu deities while seamlessly blending the symbolic languages of Shakta and Vaishnava traditions. It delves deep into the intricate tapestry of love and divine longing, as experienced through the lens of Radha’s ardent devotion to Krishna.

Anubhuti’s depiction of love and longing is showcased in an ardent slow cinema fashion, focusing on the emotional and human aspects and leaving an indelible mark. Watching “Anubhuti” is like going on a pilgrimage alone with no companions, inviting a deep and introspective connection with the medium. Its performance art is not new, yet incisively different.

Where to Watch:

7. Ullozhukku | Malayalam

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If Christo Tony’s new film, marked by its minimalistic yet marvelous approach, had only featured Urvashi and Parvathy Thiruvothu in a slightly fabricated plot, it would still have been a visual and auditory delight. These actors are among the finest in Indian cinema, gifts from the Malayalam film industry. Yet, it’s a bonus that ‘Ullozhukku’ is also a deeply layered and captivating examination of the human condition, where performative realism serves as a platform for various emotions simultaneously, without descending into chaos.

Navigating the fine line between personal obligations and familial duties, where one’s happiness and societal expectations lie on opposite sides, poses a dilemma. This is among the many conflicts delved into through the character study of a Malayali Catholic housewife in the flood-stricken town of Alappuzha. The drama is as attuned to her inner world as it is to the external constructs and institutions. Through the unresolved tensions in her relationships with her husband and lover, the film presents a sharp, tender, and feminist exploration of sustenance and identity. Rather than setting a narrative ideal, it examines the dynamics between a woman and her mother-in-law, creating an open space where love, pain, and grief are collective experiences of suppressed womanhood.

Where to Watch:

6. Merry Christmas | Hindi, Tamil

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Merry Christmas” stands out as a bloody good thriller. It offers a deep dive into the minds of both the police and the suspects while also clearly laying out the crime’s details and motives. Yet, at its core, Sriram Raghavan‘s creation is a profound love story. It’s a captivating journey through a silent, festive night, where two strangers share fleeting moments before igniting passion in the stillness around them. The film proudly showcases its romantic soul.

The film’s story is ignited by the electric chemistry between Vijay and Katrina as Albert and Maria. Their enigmatic on-screen personas captivate the audience. The gradual easing of tension between them as the story unfolds is nothing short of skillful storytelling.

Where to Watch:

5. Manjummel Boys | Malayalam

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Manjummel Boys,” a commercial ‘tour de force’ emerging from a regional film industry celebrated and known much better for its consistent critical success, stands as an exceptionally inviting and yet profoundly impactful milestone for commercial cinema in recent times. The film, directed by Chidambaram, revisits a distressing yet touching tale of survival from twenty years ago, making a bold and innovative choice in storytelling that goes beyond the power of its initial concept.

The film has a remarkable ability to connect with the people, expertly engaging their emotions by what I like to call button-pushing. While the breathtaking physical feats were awe-inspiring, the poignant exploration of friendship and human connection truly moved me to tears. The narrative doesn’t stop at the peak of its dramatic arc. It thoughtfully extends beyond, delving into the lingering trauma of the event and the cost of the enthralling heroics that have held our attention.

Where to Watch:

4. Amar Singh Chamkila | Hindi, Punjabi

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The absence of a fiercely committed artist can cast a long shadow over the appreciation and influence of their oeuvre. While individuals and society have interpreted the meaning of their art, it’s often after the artist has passed that reflection turns to what the art represented for its creator. Through his detailed biography of “Amar Singh Chamkila,” also known as the ‘Elvis of Punjab’ from the late 20th century, Imtiaz Ali reinterprets his legacy in this light.

Ali captures Chamkila’s life, performances, and the controversies surrounding them as scenes vividly recalled by those closest to him. Interestingly, death is introduced at the beginning rather than the end, mirroring the unexpected nature of life itself. This portrayal is beautifully done, contributing to the tangible and emotional narrative of the biography.

Where to Watch:

Read More: All Imtiaz Ali Movies (Including Amar Singh Chamkila), Ranked from Worst to Best

3. Vaazhai | Tamil

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Ever since his directorial debut with Pariyerum Perumal (2018), Mari Selvaraj has been one of the most gifted filmmakers from the Tamil film industry. He has emerged as a filmmaker of images, suffusing them effectively in a familiar mainstream template to tell clutter-breaking stories of collective conscience against caste oppression. There can be a lot of discourse on how evocatively his dual-layered premise structures bridge stark realities of caste violence with visual and emotional elements familiar to a mass viewership. However, it can also be summed up by the rich, thriving and simultaneously haunting personality embodied by his latest and most personal film, Vaazhai. A semi-autobiographical character study that follows a Dalit boy named Sivanaindhan whose weekends mean lugging at banana plantations for hours on end, the film features Selvaraj’s imagery of the marginalized at its most lucid.

The back-breaking pique of systemic enslavement is conveyed with a brute force and without the additional burden of subtlety and composure. However, the film is nuanced and aware enough of its perspective- that of a child in the most vital phase of his growing-up journey. In telling the story of Sivanaindhan, which is also his in many respects, Selvaraj incorporates distinctly delightful elements of warmth and humour which would have been diluted had it been relegated to a more ‘art-house’ framework. At the same time, it does not shy away to bring the haunting truths of such a life to the surface, the progression towards which almost feels like the ripening phase of a banana. For its immersive and at once, plaintive effect alone, Vaazhai stands as one of the most important Indian films.

Where to Watch:

2. Kottukkaali | Tamil

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“They are not just beating me,” is the only line of dialogue uttered by Meena, the film’s ‘adamant girl.’ This line not only highlights the layers of oppression and manipulation she endures in her repressed state in the film but also the emotional and physical torture that PS Vinothraj reveals—and conceals—from us in this compelling, albeit challenging, sophomore film. The essence of Kottukkaali is deceptively simple: a road trip akin to the one in Vinothraj’s first film, Koozhangal, with the scorching heat marking the journey, numerous hurdles to overcome, and intense anger fuelling the voyage. The depiction of an uneducated society succumbing to sexism and the practical joke played by religion on them is also no news.

Yet, Vinothraj’s calm and understated direction is the catch. He consistently captures the family’s reactions to events during the trip, adopting a non-judgmental view of their most primal reactions. The film pays homage to the stories we share with ourselves and others, through dialogues about recent events in their lives. Notably, the film splits into two narratives: the unresolved, toxic non-romance between Paandi and his betrothed, and the chaotic spectacle that unfolds before Meena. Both paths converge on a dusty road through the forest, leading to the ‘Seer’ and pausing at the altar of the family goddess.

Where to Watch:

1. All We Imagine as Light | Malayalam, Hindi, Marathi

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Payal Kapadia’s award-winning film “All We Imagine as Light” begins with a symphony of voices in various languages, each conveying distinct narratives yet united by a shared sense of hope and vision for the Mumbai they inhabit, despite not being from the city. The film unfolds like a luminous enigma, almost documentary in style, weaving a fictional story that seems to continue the dialogue initiated by these voices. At its core, the film explores the universally resonant themes of love and yearning. All We Imagine as Light skillfully melds its visuals, lighting, and soundscapes to express and recognize the pervasive loneliness that accompanies some of us. This loneliness can offer respite from the relentless cacophony of urban life and the rigors of time management, providing a return to a place of safety. Yet, it also confronts the malaise that such isolation can breed when it lingers too long.

Apart from that, Kapadia’s creation is a poignant and enigmatic ode to the quintessential ‘Mumbai spirit.’ While numerous films have endeavored to capture this essence, particularly through the lens of romance, the raw tenderness of this film’s migrant narrative imparts a sharp critical edge. The casting is exceptional, arguably the most remarkable in recent Indian cinema, with Kani Kusruti delivering a perceptive and memorable performance as Nurse Prabha. Her natural rapport with the other characters is so authentic that it makes her feel like someone you know personally.

Where to Watch:

Special Mentions:

The Goat Life | Malayalam

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In 2008, when Benyamin published his acclaimed Malayalam novel, his intent was to shed light on the stark realities faced by emigrants and their harsh working environments in the Gulf nations. The film adaptation, “The Goat Life,” directed by Blessy, expands upon this poignant true story, aiming to reach a wider audience. Although it doesn’t delve deeply into socio-political themes, the movie makes up for this by focusing on a central heroic figure whose journey is an unlikely crowd-puller, turning the narrative into a riveting saga of survival. The lead character, amidst the endless stretches of Rub al’ Khali—the largest continual sand desert on the planet—starts to reminisce about his humble origins and marital life, which now seem like a distant paradise.

Aadujeevitham” does encounter some tonal shifts and perhaps places too much emphasis on its visual grandeur, which may not appeal to everyone. Nevertheless, the film’s depiction of survival as a reflection of the human spirit’s yearning for liberation, combined with its exploration of hope and faith, makes it a worthwhile watch.

Where to Watch:

Maharaja | Tamil

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Boasting a star-studded ensemble, “Maharaja” initially unfolds as a grim, action-packed thriller echoing the well-trodden paths of Tamil commercial cinema. It employs a sense of ‘realism’ to navigate through its cinematic shortcomings. The film’s somber tone is relentless, yet it skilfully weaves in a mix of light and dark humor, along with genuine warmth and profound emotional depth, making the occasional clichés forgivable.

“Maharaja” excels in its commercial execution. The fight sequences are brutal yet compelling, transcending the usual masala film mold. The climax visuals are striking, aiming to evoke a deep response rather than mere shock. The narrative is heavily driven by its plot, but it is brought to life by the compelling performances of its cast. Vijay Sethupathi‘s expressive eyes are a canvas upon which a hundred stories unfold.

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The 20 Best Indian Movies of 2024 (2025)
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