Geriga (2026): Rishan Sha’s Ritual Horror Collapses Under Its Own Algorithm
The camera finds Rishan Sha’s Vijay kneeling in the red laterite dirt of Naivad, phone torch blazing, performing a death-summoning rite for a subscriber count.…
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The camera finds Rishan Sha’s Vijay kneeling in the red laterite dirt of Naivad, phone torch blazing, performing a death-summoning rite for a subscriber count.…

A single weathered cap arrives in the life of an IT professional named Lakshman and immediately starts bending probability around his head. Harshith Rangaswamy’s shoestring…

Bhushan opens Manduka on a girl mid-hallucination, her eyes tracking phantoms across a room the audience can’t yet read. Within minutes she stumbles into four…

Five women wear Jyothi Poorvaj’s face in the first twenty minutes of KillR, and the film never quite decides whether that’s a mystery or a…

Anil Kumar T. M.’s Kannada romance opens on a village classroom, where Madhava and Geetha trade glances across wooden benches. By the second reel, the…

A Customs officer wears many hats in a formula-bound thriller, and T. Samaya Murali wears nearly all of them himself. His film opens on the…

The house is the first character. Trivikram Srinivas frames House No. 47 with the reverence of a museum exhibit, clean lines, ordered shelves, a family…

Twenty-three minutes is a cruel canvas for a man’s undoing. Manoj Sivakumar’s short asks Pugazh to carry a lifetime of rejection and a flicker of…

By the time the smoke settles over 1980s Secunderabad, Srikanth Odela’s camera has asked one question so many times it becomes a drumbeat: who decides…

The first male student walks into a Coimbatore women’s college and the film believes it has found its engine. What follows is a two-part romance…

Prince Joy opens on Fort Kochi’s damp, salt-eaten backstreets, where a low-tier gang member named Antony Yakuza dreams of being taken seriously. The problem is…

Anandhi steps into the dust and lamplight of North Andhra’s Burra Katha circuit, and for a while the screen belongs to her voice. Then the…

The opening sequence announces its intentions with a radio jockey’s voice drifting over campus footpaths and shared kitchens: an Indian student in America narrating his…

The bow of a ship, a girl with her arms spread wide, and a boy holding her waist as the wind takes her voice: “I’m…

Anupama Parameswaran’s Keerthi wants a degree before a mangalsutra, and her father wants a wedding before the neighbours start talking. That collision of ambition and…

R. Raghav Mirdath’s debut feature opens with a drone hovering over a locked-down mansion, its camera lens catching a woman who will detonate the lives…

Nelson Dilipkumar returns to the Muthuvel Pandian well, but the bucket comes up heavier than expected. The reported early cut ran past four hours before…

Nethaji Srinivas opens his Telugu crime thriller not on a corpse but on a pharmacy shelf, where the medicine that should heal is the weapon…

The child is gone before the first act has finished clearing its throat. Tetsuya Mariko does not linger on the moment of vanishing, no screeching…

MJ Nitharsan’s Manithee: The Fire Bird opens on a collision of two impossible dreams: a female physicist determined to force a breakthrough technology onto a…

The opening shot of Cuddle Café lingers on a steaming cup of filter coffee, the camera tracing the swirl of milk in a way that…

The first image that lands is not a face but a room full of strangers learning a song in a language that isn’t theirs. Seetha,…

The first sound in Selvi is not a scream or a score cue. It is a doorbell. Then another. Then another, threaded across a corridor…

Janakiram Marella opens on a projector’s beam cutting through cigarette smoke in a cramped village hall somewhere along the Andhra–Odisha border, early 1990s. The audience…

Sunil Ibrahim opens The Third Murder with a corpse that refuses to stay singular. Businessman Boban is found dead in precisely the manner of drug…

The ancestral house in Izhakalkkappuram has the acoustics of a confession booth. Every footstep on its red-oxide floor carries, every pause between father and daughter…

There’s a specific kind of frustration that comes from watching a debut vehicle built entirely around charisma, only to discover the script has no idea…

Balaji Tharaneetharan has spent his career building comedies out of people who cannot get out of their own way. In Baththa, he finally builds one…

A bank encounter in the opening act establishes Aasha immediately: she argues first, apologises never, and calls the whole thing principle. How long you can…

The frame opens wide, anamorphic and uncommonly patient, as Sathya, a PhD scholar, and her assistant Karthikeyan drive toward a fieldwork meeting that will unravel…