is set to become the first film to release across the nation’s defence theatres, when it opens in cinemas globally on November 21. Based on the 1962 Battle of Rezang La, when 120 Indian soldiers fought more than 3,000 Chinese soldiers at an altitude of 16,000 feet in Ladakh, the film will screen exclusively for the defence community in over 800 cinema halls across India.

is directed by Razneesh ‘Razy’ Ghai and produced by Ritesh Sidhwani, Akhtar (Excel Entertainment), and Amit Chandrra (Trigger Happy Studios).

'120 Bahadur': Farhan Akhtar's War Epic Makes History as the First Film to Release Across India’s Defence Theatres

Actor and politician Pawan Kalyan began the New Year with the announcement of a new feature film, confirming a long-delayed collaboration with director Surrender Reddy. The project, backed by producer Ram Talluri under the banner Jaithra Rama Movies, marks Talluri’s debut as a producer. The banner name, according to reports, was suggested by Pawan Kalyan himself.

The collaboration had originally been planned in 2021 but was shelved due to a combination of scheduling and logistical issues. Its revival has been met with considerable interest, particularly as it brings together a team that has remained inactive on the project front for several years. Screenwriter Vakkantham Vamsi has been confirmed as the writer, while further details regarding the cast, crew, and production timeline are yet to be announced.

, which performed strongly at the box office. He has since been juggling film commitments alongside his political responsibilities, resulting in staggered production schedules for several projects.

Among those nearing completion is an action drama directed by Harish Shankar, also starring Sreeleela and Raashii Khanna. Shooting for the film wrapped in September, with the team sharing behind-the-scenes footage and photographs to mark the occasion. Harish Shankar publicly acknowledged the actor’s involvement despite his demanding schedule, a gesture that drew significant attention online. The film’s release date has not yet been announced.

That project brings together a prominent technical team, including composer Devi Sri Prasad, cinematographer Ayananka Bose, editor Ujjwal Kulkarni and action choreographers Ram-Laxman. Anand Sai serves as production designer, with K Dasharath handling the screenplay and additional writing by C Chandra Mohan. Pawan Kalyan is also expected to prioritise completing work on 

Separately, reports have suggested that filmmaker Lokesh Kanagaraj is in early discussions for a large-scale action project with Pawan Kalyan. If confirmed, the film would mark the actor’s first collaboration with Kanagaraj, known for building the Lokesh Cinematic Universe. However, no official announcement has been made regarding this project.

Pawan Kalyan Announces New Film with Surrender Reddy, Reviving Stalled 2021 Collaboration

Netflix experienced a brief technical outage as the series finale of 

 premiered, marking the second disruption associated with the show’s final season. The issue occurred around 5 pm PT (

), coinciding with the scheduled release time of the episode, and was resolved within minutes after users refreshed the app.

Subscribers who encountered the error were shown a familiar placeholder image from Netflix’s baking competition 

, accompanied by a message apologising for difficulties processing their request. The interruption echoed a similar incident on 26 November, when the first batch of episodes from the show’s fifth and final season was released. That outage lasted approximately five minutes.

 has strained Netflix’s infrastructure. In July 2022, the release of the final episodes of season four also caused intermittent access issues for viewers. More broadly, Netflix has faced technical challenges during high-profile events, including livestreaming problems during last year’s Mike Tyson vs Jake Paul boxing match.

Despite Wednesday’s brief disruption, the platform has largely weathered the intense demand generated by the final season. The second batch of episodes, released on Christmas Day, streamed without incident and delivered Netflix its highest-ever viewership for the holiday. Season five became the most-watched title globally that day, driven by the release of three new episodes.

According to Netflix’s internal figures, the final season recorded 34.5 million views worldwide between 22 and 28 December, marking its second-strongest week. The season’s debut week in November drew 59.6 million views, making it the platform’s most successful opening week ever for an English-language series.

The finale is also receiving a limited theatrical rollout, with screenings scheduled across select cinemas on New Year’s Eve. Co-creator Ross Duffer said that more than 1.1 million people had RSVP’d for theatrical showings, with 3,500 screenings sold out across 620 venues.

“What a way to close out a 10-year journey — together,” Duffer wrote on Instagram alongside his brother and fellow creator Matt Duffer, reflecting on the conclusion of the series that has become one of Netflix’s defining cultural exports.

 debuted in 2016 and concludes after five seasons, bringing to an end a decade-long run that helped define Netflix’s rise as a global streaming powerhouse.

Netflix Briefly Crashes as ‘Stranger Things’ Finale Premieres, Marking Second Outage This Season

The first-look poster of Sandeep Reddy Vanga’s 

in a striking new avatar that feels entirely in sync with the filmmaker’s bruised, volatile world. It’s raw, provocative and unabashed, hallmarks of the director of 

. Yes, there’s a cigarette, and yes, a lighter makes the cut too.

Stripped of excess and driven by mood, the restrained poster captures a wounded Prabhas with his back to the camera, attempting to light a cigarette as Triptii Dimri, eyes lowered, holds the lighter for him. Bandaged across his body, including his forehead, he looms like a towering movie star, with a bottle in hand.

"INDIAN CINEMA.... witness your AJANUBAHUDU / AJANUBAHU 🫡 Happy New Year 2026 🤗" Vanga tweeted. The poster was revealed at the stroke of midnight on December 31.

began filming in December, with a tentative 2027 release in sight. The film also co-stars Vivek Oberoi, Prakash Raj and veteran actress Kanchana.

is speculated to star Prabhas in the role of an angry young police officer who takes on a mighty mafia syndicate. It is also reported that the sons of Telugu cinema stalwarts, Trivikram Srinivas and Ravi Teja, Rishie Manoj and Mahadhan Bhupathiraju, are part of the film's direction team as assistant directors.

Written, edited and directed by Vanga, the film is produced by Bhushan Kumar, Pranay Reddy Vanga, Krishan Kumar, and Prabhakar Reddy Vanga. Billed as a global entertainer, with a release in multiple languages. 

Triptii Dimri stars in a role that was initially offered to Deepika Padukone, who was the film's female lead, before she exited the project, citing work-hour issues. In response to the controversy, Vanga shared his perspective on social media without naming Padukone, expressing his frustration over creative disagreements and accusing the actor of sharing details about the project prematurely. 

Vanga last directed the 2023 blockbuster 

, which co-starred Ranbir Kapoor. Prabhas, meanwhile, will next be seen in 

'Spirit': Prabhas Gets a Sandeep Reddy Vanga Makeover in First Look

This article is in collaboration with Grand Hyatt Mumbai

For years, Grand Hyatt Mumbai has been a place people return to without needing a reason. Birthdays, business lunches, wedding dinners, late-night drinks that turn into early mornings: the hotel has always understood the role food plays in the city’s social life. This year, it is doubling down on that instinct by sharpening its focus on dining.

Instead of introducing novelty for novelty’s sake, the hotel has chosen to strengthen what already works. With Celini relaunched, Juniper Bar reintroduced, and China House elevated, Grand Hyatt Mumbai places food and drink firmly at the centre of the experience.

Celini’s return is rooted in familiarity. It has long been one of the hotel’s most recognisable restaurants, known for comforting Italian food and welcoming atmosphere. The refreshed version keeps that spirit intact. The space feels warmer, more relaxed, and built for conversation.

The menu stays close to classic Italian cooking, drawing from family recipes and traditional techniques. What changes is the way the food is presented. Several dishes are finished at the table. Risottos are stirred in front of guests. Roasts are carved on a trolley. Sauces come together in real time. It adds a sense of pace to the meal and reminds diners that food can still be a shared experience rather than something that arrives already perfected and untouched.

Celini works because it understands its audience. It is equally comfortable hosting an intimate dinner or a large celebration. Nothing feels overdesigned. The focus stays where it should be, on flavour, warmth and ease.

Robert Dallimore, General Manager, Grand Hyatt Mumbai Hotel & Residences and Area Vice President, West India, said, “The relaunch of Celini is not only an exciting introduction of a new dining experience, but also a nod to the simple wholesomeness of Italian cuisine, which shines through the new space as well as the menu. Guests get to immerse themselves in the true essence of Italian hospitality, where every meal is a celebration of togetherness and the art of living well. Whether it's an intimate dinner, a gathering of friends, or a milestone celebration, Celini promises an unforgettable culinary escapade that transcends the ordinary and leaves a lasting impression.”

The Juniper Bar moves in a different direction altogether. Reintroduced with a new identity, the bar builds its cocktail programme around the five elements. Air, fire, earth, water and ether form the base of its menu, influencing both flavour and composition.

The cocktails are well-balanced and thoughtfully put together. Spices are used carefully, botanicals feel deliberate rather than decorative, and each drink tells a clear story. The space itself mirrors that balance. It is intimate and softly lit, a place that works just as well for a quiet drink as it does for a lively evening.

Juniper feels designed for people who enjoy staying a little longer than planned. It is the kind of bar that fits naturally into the rhythm of the hotel. A drink before dinner. Another after. Or no dinner at all.

Dallimore shared his excitement about this transformation, stating, “With the reimagination of ‘Juniper Bar,’ we are bringing a unique, elemental experience to our guests. As we commemorate 20 years of Grand Hyatt Mumbai, we continue to push the boundaries of innovation, offering our patrons an extraordinary space where the elements come alive through masterfully curated flavours and ambience.”

China House’s approach to Chinese cuisine is built on getting the fundamentals right. The cooking stays rooted in traditional techniques, from the use of wok hei to the careful balance of heat, umami and aromatics. While flavours are adjusted for local preferences, the structure of each dish and the integrity of its ingredients remain unchanged. The result is a menu that feels refined without drifting into fusion.

That focus on authenticity has extended beyond the regular menu through an ongoing exchange with Hyatt Hotels across Asia. Guest chefs specialising in regional Chinese cuisines have worked alongside the China House team, bringing with them distinct techniques and flavour profiles. These collaborations offer diners a closer look at the diversity of Chinese cooking, without overcomplicating the experience.

In 2025, this included a collaboration with Lee Kum Kee, in partnership with chefs from Grand Hyatt Kuala Lumpur, which centred on classic flavours and traditional methods. 

The response has led to more such collaborations planned for 2026, further expanding China House’s focus on regional Chinese cuisine.

Together, these three dining spaces make a strong case for why the hotel remains such a favourite. In a city where restaurants open and close at a relentless pace, Grand Hyatt Mumbai is choosing longevity. By investing in its kitchens and bars, it reinforces its role not just as a hotel, but as a place people return to for life’s everyday celebrations.

Inside Grand Hyatt Mumbai’s Return to the Centre of the City’s Dining Life

Marvel Studios has released a second teaser trailer for 

, offering a sombre glimpse of Thor’s return and signalling a tonal shift for the long-gestating ensemble film. The footage, which has circulated online in leaked form following theatrical preview screenings, focuses on Chris Hemsworth’s God of Thunder not as a warrior first, but as a father preparing for another battle.

The teaser opens with Thor alongside his daughter, played by Hemsworth’s real-life child India Rose Hemsworth, before cutting to a moment of private prayer. Addressing his father, he asks for the strength to fight once more—not for glory, but so that he can return home safely. “Not as a warrior, but as warmth,” he says, framing the conflict in emotional rather than mythic terms. The implication is clear: whatever lies ahead will test Thor in ways that brute force alone cannot resolve.

The battle in question is widely understood to be against Doctor Doom, played by Robert Downey Jr., whose casting marks a striking return to the Marvel Cinematic Universe after more than a decade as Tony Stark/Iron Man. Downey’s reappearance, this time as one of Marvel’s most iconic villains, signals both a narrative reset and a calculated act of reinvention for a franchise increasingly shaped by legacy casting and audience memory.

Directors Joe and Anthony Russo, who return to the MCU after 

, described the teaser succinctly on social media: “When even a god has to pray for strength.” The line underlines the film’s apparent interest in vulnerability, a theme echoed in an earlier teaser released weeks ago.

That first official preview focused on Steve Rogers, confirming that Chris Evans will reprise the role despite previous comments suggesting he was finished with the character. The silent sequence shows Rogers riding to a farmhouse, holding a newborn child and later retrieving his Captain America suit from storage. The teaser ends with the words: “Steve Rogers will return in Avengers: Doomsday.”

The last time audiences saw Rogers was at the end of 

 (2019), when he passed the shield to Sam Wilson, now Captain America. His return, alongside Downey’s re-entry into the franchise, points to 

 functioning as both continuation and reckoning for Marvel’s original generation of heroes.

 is scheduled for theatrical release on December 18, 2026.

‘Avengers: Doomsday’ Teaser Shows Thor Praying For Strength as Marvel Signals a Darker Turn

, director Sundar C’s upcoming Tamil-language film headlined by Nayanthara, have announced the completion of filming. The update was shared through a special announcement glimpse in which cast and crew are seen celebrating the end of production and reflecting on their experience working with the director.

The team also confirmed that actor Sneha will make a special appearance in the film, joining Khushbu Sundar in a cameo role. Sneha, known for performances that balance emotional restraint with dramatic weight in films such as 

, has in recent years taken on selective roles across Tamil and Telugu cinema, often returning to the screen in appearances that lean on familiarity and goodwill rather than scale.

 carries the title of RJ Balaji’s 2020 hit, the sequel shares no narrative continuity with the original film. Sundar C’s version is positioned as a standalone project, signalling a shift in creative approach while retaining the devotional-comedy framework suggested by the name.

Nayanthara, who leads the film, continues her run as one of Tamil cinema’s most bankable stars, following recent appearances that have ranged from large-scale commercial projects to women-led films anchored in star power. Her involvement through Rowdy Pictures, the production banner she runs with filmmaker Vignesh Shivan, underscores her increasing role as both actor and producer within the industry.

The ensemble cast includes Regina Cassandra, Suneel, Yogi Babu, Abhinaya, Ineya, Garuda Raam, Singampuli, Vichu Vishwanath, Ajay Ghosh and Myna Nandhini—actors known for their work across ccharacter-driven roles that anchor mainstream Tamil films.

Music for the sequel is composed by Hip Hop Tamizha Adhi, a frequent collaborator of Sundar C, while the screenplay is co-written by Venkat Raghavan and the director. Cinematography is handled by Gopi Amarnath, with editing by Fenny Oliver and production design by Gururaj.

Backed by Ishari Ganesh’s Vels Films International and co-produced by Avni Cinemax, Rowdy Pictures and Ivy Entertainment, 

 now moves into post-production, with release details yet to be announced.

Sundar C's 'Mookuthi Amman 2' Wraps Filming, With Sneha Set For Cameo Appearance

even the last day of the year is eventful as they launched the debut character poster of Nayanthara from the upcoming feature, headlined by Yash. The new still showcases Nayanthara, one of the country's biggest female stars, as Ganga.

According to the makers, the striking first look positions Nayanthara's Ganga as a "defining force" within the universe of Yash’s most ambitious project yet. The poster features her wielding a gun with authority, echoing elegance and danger, against the opulence of a grand casino entrance.

"We all know Nayan as a celebrated star with a commanding screen presence, and a remarkable career spanning two decades, but in 

, audiences will witness a talent that has been quietly waiting to explode," director Geetu Mohandas said in a statement. 

with Yash, said she wanted to portray Nayanthara in a way that she’s never been showcased before. 

"But as the shoot progressed, I began to see how closely her own personality echoed the soul of the character. It wasn’t imitation, it was alignment. The depth, the honesty, the restraint, and the emotional clarity she brought were not performances layered on top of the character; they were qualities she already possessed. I found my Ganga, so brilliantly performed by her, and even more unexpectedly, I found a dear friend," Mohandas added.

will be Yash's first film after the global success of 

, Earlier, Kiara Advani's first look as Nadia was unveiled, followed by Huma Qureshi’s dramatic reveal as the enigmatic Elizabeth.

The film has been filmed simultaneously in Kannada and English, with dubbed versions planned in Hindi, Telugu, Tamil, Malayalam, and several other languages. 

is slated for a grand theatrical release on the long festive weekend of March 19, coinciding with Eid, Ugadi, and Gudi Padwa.

'Toxic': Makers Drop First Look Poster of Nayanthara as Ganga

Actor Siddhu Jonnalagadda is set to reunite with producer Naga Vamsi for a new Telugu-language project, marking their third collaboration after the commercial successes 

 (2024). The upcoming film, which is yet to be formally launched, is being produced under the banners of Sithara Entertainments and Fortune Four Cinemas, with Srikara Studios presenting.

While details about the project remain under wraps, the makers have indicated that Siddhu will be seen in a markedly different avatar from his earlier roles. The film is positioned as a departure from the flamboyant, fast-talking persona that defined his breakout 

 series, suggesting a shift in both tone and characterisation.

The announcement comes at a crucial moment in Siddhu’s career. His recent releases, 

, failed to make an impact at the box office, prompting industry watchers to frame the new project as a potential reset. The continued association with Naga Vamsi, a producer closely linked with Siddhu’s biggest hits, is being viewed as an attempt to recalibrate after a string of underperforming films.

In parallel, Siddhu has also signed another project titled 

, which will be directed by Ravikanth Perepu, best known for the critically acclaimed thriller 

. The two previously collaborated on the web series 

, and their reunion has drawn attention for signalling a tonal shift. Unlike Siddhu’s earlier mainstream successes, 

 is being described as more restrained and character-driven, blending humour with darker emotional beats.

 is written jointly by Perepu and Siddhu and is also backed by Sithara Entertainments and Fortune Four Cinemas. 

Naga Vamsi along with Sai Soujanya are the producers backing this project. 

The film is slated for release in 2026, with a first-look poster already unveiled. Together, these projects suggest a period of reinvention for Siddhu Jonnalagadda. 

Siddhu Jonnalagadda Teams Up Again With Producer Naga Vamsi For New Telugu Film

, tracking for a modest opening—and shrouded in doubt ahead of its release—would go on to become the only title of the year to cross ₹1,000 crore worldwide, cementing itself as one of the biggest hits in the history of Indian cinema. Equally unthinkable was the idea that two of the year’s most formidable releases, 

,  arriving on the same day and fronted by crowd-pulling superstars, would collapse so dramatically.

thrived on shocks and surprises. It pulled no punches in delivering the good, the bad and the blockbuster. Here's a breakdown of the year that went by (all trade figures are worldwide gross as per industry tracker 

Top 10 Highest Grossing Indian Films of 2025 at the Box-Office:

India’s top 10 highest-grossing films of 2025 have collectively amassed ₹5,500 crore-plus worldwide, underlining a sharply top-heavy year at the box office. The top five films alone contributed ₹3,748 crore-plus, while the bottom five added ₹1,579 crore, reinforcing how a handful of titles did the bulk of the heavy-lifting. 

, the only film of the year to cross the ₹1,000 crore mark worldwide so far. What makes its run particularly striking is that the film achieved this milestone without a Gulf release and as a single-language Hindi offering, bucking the current trend of multi-language, pan-territory rollouts. 

Trade sources indicate the film still has gas left in the tank, with its India nett alone tracking toward the ₹800 crore mark, suggesting 

’s final tally could stretch even further.

Two films this year came close to the four-digit milestone but fell just short; 

(₹852 crore) and Vicky Kaushal-headlined 

(₹808 crore) both delivered exceptional results. While Rishab Shetty-led 

 benefited from a multi-language release strategy and a massive sequel hype, 

performance stands out for achieving scale largely without a broad multi-language rollout (it was only in Hindi and Telugu), relying instead on sustained word-of-mouth and strong core-market traction.

The year’s biggest surprise success story, however, was Mohit Suri's 

(₹570 crore). Emerging as the highest-grossing romantic film of all time, the film’s run is considered remarkable given that it starred debutants Ahaan Panday and Aneet Padda, was helmed by a director not previously associated with blockbuster-scale hits, and thrived in a romantic drama genre that has struggled theatrically in the post-pandemic era.

What further underlines the unpredictability of the 2025 box office is the combined performance of 

, which together delivered a staggering cumulative gross of ₹1,201 crore worldwide. None of the three fit the conventional “safe bet” blockbuster template, yet collectively they outperformed several marquee, star-driven projects.

(₹364 crore) stand out as the year’s most prominent under-performers among tentpole releases, with a combined global gross of ₹882 crore. 

, hyped as a massive Rajinikanth–Lokesh Kanagaraj collaboration, was widely expected to challenge the ₹1,000-crore mark and potentially become Tamil cinema’s first entrant into that club. 

While it still crossed the ₹500-crore threshold—making it one of Rajinikanth’s consecutive ₹500 crore global performers, as per trade consensus—the film fell well short of expectations relative to its scale and pre-release buzz.

shocked the trade. The sequel from the YRF Spy Universe, featuring Hrithik Roshan and Jr NTR, ended up earning less than the production house's 

, a modestly mounted romantic drama. For a franchise built on spectacle and star power, the result was one of the most significant misfires of the year.

Among the year’s biggest surprises was 

(₹327 crore), which scripted history by emerging as the highest-grossing animated film ever from India, according to trade data. Its unprecedented run caught the industry off guard, proving that animation—when rooted in strong cultural and mythological resonance—can deliver blockbuster-scale results.

(₹304 crore) rewrote the rules for Malayalam cinema, smashing previous records and clocking global blockbuster numbers rarely seen from the industry.

(₹289 crore) failed to ignite the box office in a meaningful way. The disappointment around 

was particularly sharp, given the franchise’s proven commercial pedigree and the expectation that it would comfortably rank among the year’s biggest entertainers.

Top 10 Highest-Grossing Indian Films of 2025: From 'Dhurandhar' and 'Kantara: Chapter 1' to 'Saiyaara'

“₹105 crore-plus humara gross collection ho gaya hai worldwide. Just imagine, agar Hindi aur Tamil mein bhi release hoti toh ₹500 crore cross karta (We grossed over ₹105 crores worldwide. Just imagine, if we’d released the film in Hindi and Tamil, we’d have crossed ₹500 crores).” 

“By virtue of being a woman, if that’s coming across as being pushy or whatever, then so be it. But it is no secret that a lot of superstars, male superstars, in the Indian film industry, have been working for eight hours for years, and it’s never made headlines.”

“It’s fundamentally a very insecure industry...Don’t look for friendships here.”

“Indian films, especially Bollywood, show India in a bad light.”

“Am I the face of Bollywood hate, and if I am, then ‘thank you’ for giving me this elevation. But do I deserve it? I don’t think so.”

 said after an awkward moment when a foreign journalist didn’t recognise him at the Met Gala in May. 

(My mother left me a letter saying that my real father is Donald Trump).” 

 said to paparazzi in October, posted by 

“He has a phobia of smiling in front of the camera.”

“Raat gayi baat gayi (Forget about it once it’s done).”

“Never has any award been bought or aggressive PR been done by me.”

 on buying awards, replying to a comment on X in October.

“I don’t drink every day, only on Sunday. It is my cheat day.”

“When you’re doing a nine-to-five and sitting at a desk, you don’t have to be 100 per cent present. You can take your tea breaks, chill out, walk, talk and do your job. But we  can’t.”

“Per plate da hisaab hai (It’s budgeted per plate).”

 said while flaunting his Met Gala invite on his Instagram page.

“You have to marry Silicon Valley with a Marwari mindset.”

on turning entrepreneur, in an interview with 

“I don’t know if it’s a reflection of our society or if it is a reflection of the fantasies of our society. I think the films which feed into the secret fantasies of men, who in their heart of hearts, look down on women, these are being fed and it’s actually very scary to see how much approval such films get from the common viewer. It’s very terrifying and it does explain the horrendous things that happen to women in a lot of places in our country.”

 said in an interview with Parvathy Thiruvothu at the Kerala Literature Fest in January.

“It’s 2025 and the films that get green-lit are films that belong in the 1980s and not even the good ones.” 

“In our industry, the same thing is repeated for five years straight — then, when people get bored, they finally let it go. Actually, insecurity bohut badh gayi hai (there’s a lot of insecurity).”

 said in an interview with Puja Talwar for her YouTube channel in May.

“[Bollywood] can’t even make a Pushpa…because they don’t have the brains to make a film.”

“Do not sign a three-movie deal. Give your debutant freedom, allow them to run away. As it is said, ‘Let them free, if they belong to you, they will come back.”

To read more exclusive stories from The Hollywood Reporter India's December 2025 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

The Most Quotable Celebrity Quotes of 2025: From Urvashi Rautela to Shah Rukh Khan

2025 was a weird year for Kollywood; tentpole star vehicles disappointed, while the mid-budget comedies, romances and family dramas succeeded in keeping the theatres (and the streamers) pleased. Few traditional leading actors managed to pass the year unscathed; it was instead the less-heralded supporting and ensemble casts that walked away with the most plaudits. 

In no particular order, here are a few memorable performances from the year that was, which kept audiences — as well as the box-office — invested. 

It is to Pasupathy’s credit that, even though he turned in a powerhouse showing as another father figure leading his protégé to sporting honour a few years back in 

evoke memories of the imperious Vaathiyar. Clearly a Ranjith and Mari favourite, Pasupathy plays the doting, proud yet worried father to pitch-perfection here, ably complementing Dhruv’s physical, thriving act. The broad-shouldered actor is at his best in many of the scenes where he cowers with suppressed rage before his oppressors; you feel the same anger, the same fear, and finally, the same sense of triumph.

Much was expected from this reunion of the 

 combo, and while Fahadh Faasil is as dependable as ever, it is Vadivelu as Velan who subverts all expectations and owns every frame he is in. The legendary comedian, now excelling in his new avatar as a character artist, pulls out all the stops to keep us guessing on Velan’s motives until the big reveal at the end. But it’s not all dark and mysterious; traces of vintage Vadivelu also seep through in many of the early portions that amuse us to no extent, and also leave us a little nostalgic to see more of the Vaigai Puyal in the coming years.

Shanthipriya and Anjali Sivaraman (Bad Girl)

Indian cinema’s best mother-daughter duo this year was in Varsha Bharath’s directorial debut, brought to life by two dazzling performances from Anjali Sivaraman (in just her second feature film) and Shanthipriya (returning to Tamil screens after three decades). In many ways, 

 was an intertwined coming-of-age journey for both the women in the family, as they spend their lives trying to understand, love and live with each other, slowly trying to break the shackles of unspoken patriarchal and generational trauma. The fact that Shanthipriya’s hard-nosed Sundari is a teacher in Ramya’s school adds to the fun and drama, and finally, when they both reconcile, it’s a thing of absolute delight. 

Geetha Kailasam had as prolific a year as ever, but after playing innumerable mothers over the last few years — and expertly so — she turned lead protagonist in the drama 

 with a role that truly befitted her talents. An adaptation of Perumal Murugan’s short story Kodithuni,

traces a conflict between a mother and her younger son, when the latter demands that she wear a blouse to impress his prospective in-laws. Playing an elderly widow struggling to adapt to changing times and society, Kailasam is fantastic in the titular role, as she elevates the film from being just another slice-of-drama into a moving, poignant portrait of what it means to hold onto one’s sense of individuality.

Another Tamil cinema ‘hero’ who has now reinvented himself as an actor of substance, Sarathkumar makes a serious case to be one of the most versatile on-screen dads today with his two memorable roles this year, as different as they may be. While his Bose in 

 (2020) remains a personal favourite, Sarath plays both the scheming, casteist Athiyamaan in 

as well as the gentle, longing Vasudevan in 

 with consummate ease, being the scene-stealing father in both outings. At the age of 71, the remarkably fit star is charting a career blueprint that several of his contemporaries could, and should, take note of.

 flatters to deceive at times, but Dulquer Salmaan pulls off the complex character of TK Mahadevan in riveting style. Caught in a battle of egos with his mentor (a naturally fab Samuthirakani) while fighting his own demons of insecurity as a superstar actor, Salmaan is terrific throughout the narrative that eventually shifts towards an investigative thriller. It’s a shame that audiences this year will remember his cameo as the Odiyan Charlie in the blockbuster 

 from 2025 more, as DQ truly delivers his career’s finest work in 

No matter how absurd the source material may be, Suriya brazenly gives it his all — as was evident in Karthik Subbaraj’s 

— implicitly trusting his director. Karthik Subbaraj’s ambitious epic thriller went to places (literally) nobody saw coming, but even the most outlandish of scenes were somehow papered together thanks to Suriya’s no-holds-barred commitment to his character of Paari. Be it the viral 'Kanimaa' song, the extensive action sequences, or the long-drawn romance portions, Suriya turns in another humdinger of a performance, using his powerful eyes to stunning effect.

Pradeep Ranganthan proved he was no flash in the pan with successive hits in 

 becoming the breakout new-age Tamil cinema star that genuinely nobody saw coming. Elsewhere, Vikram in 

turned in another highlight, while Sasikumar, Simran and the entire cast of 

 collectively warmed our hearts; meanwhile, Ajith Kumar hammed it up 1000x in 

 we haven’t seen him having such a jolly good time in forever!

The Best Tamil Film Performances of 2025

2025 has been yet another towering reminder that the finest Hindi-language storytelling continues to thrive on streaming. Many of the shows on this list rank among the very best we’ve seen since the streaming era kicked off almost a decade ago. These are distinctive, hopeful, ambitious clutter-breakers that defy convention, push boundaries, and embody what Indian streaming was always supposed to champion.

So, in no particular order — from sincere sports dramas to contemplative crime thrillers to inventive “shockumentaries” — here’s a list of the best Hindi shows of 2025.

 started the year with a bang, giving many of us hope. The tremendously crafted seven-episode series, created by Vikramaditya Motwane and Satyanshu Singh, follows the harrowing, haunting, and hardening experiences of Sunil Kumar Gupta (an excellent Zahan Kapoor), newly appointed assistant superintendent jailer at Tihar Jail in the early ’80s.

Part bleak workplace drama, part coming-of-age saga, and part friendship story, the narrative approaches Tihar as a microcosm of our society, using the lives of guards and inmates to examine the staggering corruption and indifference of our deeply fractured justice system. 

 refuses to conform to conventional crowd-pleasing structures and feels like the kind of show that gets made against all odds — despite the system rather than because of it. The kind of series you’re just glad somehow exists.

The second season of Sudip Sharma’s landscape-defining 

 is among the most stunning pieces of storytelling to emerge from Indian streaming. With its refined sophomore outing, the series finds the coveted middle ground between arresting and meaningful — unputdownable, urgent storytelling paired with stirring philosophy.

In Sudip Sharma’s bleak, contemplative worlds, a murder investigation is merely an excuse to dive into the dark heart of the nation and examine the fractures in our society. In his work, the politics 

 the plot. And then there are the indescribable highs of watching one of our finest actors deliver one of modern Hindi cinema’s greatest creations: Jaideep Ahlawat as Hathi Ram Chaudhary, the tragic lone warrior in an indifferent system who refuses to give up the good fight, even while knowing the war is already lost.

It wouldn’t be a stretch to say we haven’t seen anything quite like writer-director Pushkar Sunil Mahabal’s dazzlingly inventive 

 emerge from Hindi cinema. This playful, clutter-breaking “true crime” thriller is a triumph of form, plotting, and subtext — and some of the most fun I’ve had watching anything this year.

Across six deliciously bingeable episodes, the series uses the language and packaging of a true-crime docu-series to mount a compelling murder mystery, while interrogating our willingness to blindly submit to well-packaged media narratives. The thrill lies not just in following the investigation, but in investigating the show itself — constantly questioning what is true and what isn’t. This is one of the coolest, most distinctive, and most enjoyable Indian streaming shows in recent memory, keeping us on edge right up to that unforgettable final frame. And even then, the question lingers: did he do it?

, from creator Smita Singh, is the kind of singular, distinctive storytelling we always hoped streaming would enable. Despite its ghosts, spirits, and supernatural flourishes, nothing here is as bone-chilling as placing us on a bus in Delhi with a young woman pressed against a sea of men.

Subscribe

Subscribe

Subscribe

'120 Bahadur': Farhan Akhtar's War Epic Makes History as the First Film to Release Across India’s Defence Theatres

You may also like

READ MORE ABOUT:

Latest News