 announced the title of his latest Tamil film 

with a new teaser on Wednesday. A glimpse from the Sudha Kongara-directed film, produced by Dawn Pictures, was unveiled featuring the 

(2024) star; the period drama revolves around 

 also stars Ravi Mohan, Atharvaa and Sreeleela, making her Tamil debut. The film, announced in December 2024, has music composed by GV Prakash Kumar and cinematography by Ravi K Chandran.

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But then, there was a twist. Soon after the teaser was out, actor-music composer Vijay Antony released a statement claiming that the title of the film was registered with him.

Antony posted a statement with a letterhead of The South Indian Film Chamber of Commerce (SIFCC), which claimed that as per their records, Vijay Antony Pictures had registered the title 

Antony's previous tweet, before the letter, was the poster of the said film, which is titled 

Following this, Dawn Pictures posted a series of tweets in defense of the title, claiming they are the proprietors of 

in Tamil and Telugu. To back the claims, the makers posted official letters from the Tamil and Telugu Producers Council, dated January 11 and 13, where the film bodies have acknowledged the registration of the title.

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Dawn Pictures also attached screengrabs from the slate of the Central Board of Film Certification (CBFC), where the title is mentioned.

Shortly after that, AVM Productions, which had backed the 1952 Tamil film 

directed by Krishnan–Panju and written by M Karunanidhi, 

featuring the acting debut of the legend Sivaji Ganesan, also issued a statement wishing the best for Sivakarthikeyan, Sudha Kongara and Dawn Pictures for their new film.

set a benchmark in Tamil cinema by shining a light on social injustices then. Today we are very excited to pass on the baton to Dawn Pictures. The story they are going to tell will carry forward the spirit of resistance which will only make our title 

 burn brighter and continue to inspire future generations...," a part of their statement read.

'Parasakthi' Row: Vijay Antony Claims Title Registered With Him As Sivakarthikeyan Announces Film; Producers Counter

 in conversation with Anushka Shah, founder of Civic Studios, for an evening that traced the emotional and cultural threads running through Chadha’s body of work. Speaking to a packed room, the 

. She reflected on how diasporic memory, identity, and the feeling of “carrying your parents with you” continue to shape her filmmaking. Chadha also revealed that her film’s contemporary Scrooge is inspired by a close friend from Uganda who arrived in the UK as a refugee — a reminder, she noted, of the lived histories that underlie her stories.

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Visionary filmmakers James Cameron and SS Rajamouli sat down for a wide-ranging conversation ahead of 

, which opens in cinemas worldwide on December 19. 

During the conversation, SS Rajamouli reflected on his experience of watching Cameron's latest, describing it as a reminder of why he fell in love with cinema in the first place. He said he felt “like a child in the theatre,” praising Cameron for repeatedly pushing the boundaries of visual storytelling. Rajamouli also noted the sustained theatrical impact of the Avatar franchise in India, recalling that Avatar played in IMAX theatres in Hyderabad for nearly a year. 

Cameron, for his part, expressed admiration for Rajamouli’s work and filmmaking sensibility. Praising the Baahubali and RRR director’s command of scale and emotion, Cameron shared his interest in visiting Rajamouli’s upcoming film Varanasi. 

Starring Mahesh Babu and Priyanka Chopra Jonas in the lead, Varanasi is a genre-bending fantasy adventure mounted on a massive canvas. The film is currently under production and is expected to hit theatres in 2027.

“I think it's important for filmmakers to talk and compare similarities in their mental creative process and in their technique. I’d love to come to your set. May I come to your set sometime and watch you create your magic?” Cameron asked Rajamouli during the conversation. 

To this, Rajamouli gladly responded, “That will be an absolute pleasure. You are most welcome. Not just me and my unit, but the entire Indian film industry will be thrilled.” He revealed that 

will take 7-8 more months to complete filming. 

 is the third instalment in the blockbuster Avatar franchise, continuing the story of Jake Sully and his family on the planet Pandora. The new film is releasing in Indian theatres in multiple formats and languages, including English, Hindi, Tamil, Telugu and Malayalam.

James Cameron Wants to Visit The Sets of SS Rajamouli’s ‘Varanasi’

After genuine social media hype and a near-empty release window, Rajinikanth’s 

 re-release just six days after it came out. The film raked in ₹11 crore in its opening weekend.

, the other top Indian re-releases include 

coincided with the Superstar’s birthday on December 12, which also marked his 50th year in the movie business. The star himself had launched a video announcing the re-release. It included Rajinikanth’s daughter Soundarya, announcing the re-release of the 1999 blockbuster. The film was directed by KS Ravikumar, and it went on to become the biggest hit of the year when it was released. The re-release coincided with Rajinikanth’s 50 years in the film industry, a career that began with a negative role in K Balachander’s Kamal Haasan-starrer

In the same video, Rajinikanth also announced the launch of a sequel to 

, which will focus on the story of Neelambari, the iconic villain played by Ramya Krishnan in the first film. In this video, the Superstar also spoke about the craze the first film created upon release, especially with the female audiences who had broken through the gates of movie theatres to watch the original. He also said the Neelambari character would get an exciting return in the new film. In this 37-minute video, he also said that his team was discussing the story of the new film and that they would proceed with making it once they lock a script.

Superstar Rajinikanth was most recently honoured with the prestigious Lifetime Achievement award at the closing ceremony of the 56th International Film Festival of India (IFFI) in Goa, marking his 50-year journey in the film industry. The 74-year-old attended the ceremony with his family members: wife Latha, his daughters, Aishwarya and Soundarya, and grandchildren.

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 was launched in Kochi on December 16, a little more than a week before the release of the period fantasy film. It opens with a psychologist breaking down what might be happening to Mohanlal. He wakes up one day 

 vivid dreams of living the life of a kind person from centuries ago. His son begins to worry about these visions, and the film aims to connect an event from several centuries ago to the events troubling the father-son duo in the present day. 

At the event in Kochi, Mohanlal spoke about how he hadn’t yet been involved in such a different film, and hoped the audience too would be seeing a new him in this film. Talking about taking on the role of a mentor to Samarjit Lankesh, who plays his son in the film, he added that it was simply his duty to extend the same care, love and respect to Samarji that was extended to Mohanlal by the great actors of an older generation, including Prem Nazir, Sivaji Ganesan, Rajkumar and more.

The Telugu-Malayalam bilingual will also 

 is jointly produced by Connekkt Media and Balaji Telefilms, in association with Abishek S Vyas Studios, and is written and directed by Nanda Kishore. Kishore has previously directed Kannada films such as 

 (2014), and Kichcha Sudeep, Prakash Raj-starrer 

 (2015). His latest release was the 2021 action drama 

 starring Dhruva Sarja and Rashmika Mandanna. Mohanlal’s next release in Malayalam will be 

, which was initially set for a November release, the makers put out a note on social media, with the tagline, “The Preparations Must Be Grand.” The film will be released on December 25.

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 will premiere on Netflix on January 14, 2026, the platform has announced.

Created by Neeraj Pandey and directed by Raghav Jairath, the series centres on the high-pressure operations of Indian customs officers tasked with intercepting smuggling activities across international airports. Hashmi’s character, Superintendent Arjun Meena, is described as “razor-sharp, calm, and calculating.” He leads a specialised customs unit dealing with contraband. Their job is to intercept everything from luxury goods concealed in everyday luggage to busting complex crime syndicates operating across borders.

marks the first collaboration between filmmaker Neeraj Pandey and Emraan Hashmi. This is Pandey’s fourth with Netflix. He previously created two seasons of the Khakhee series.

Pandey shared his excitement for unveiling the fascinating world of 

.  “Airports are familiar to all of us, yet what unfolds behind the scenes is rarely seen. The world of customs is not something that has been explored on screen, and that was part of the appeal in our endeavour to introduce our audiences to a new unexplored world which is quiet, disciplined, and high-pressure. With 

, we bring together an ensemble that could reflect the complexity with depth and conviction. And as always Netflix continues to be a strong partner in supporting stories that are rooted, authentic, and built for scale,” the filmmaker-creator shared. 

Reflecting on his role, Emraan Hashmi said, “Taskaree was exciting for me on many levels. It’s my first time working with Neeraj Pandey, and stepping into his world. Playing a customs officer is new territory for me, and Arjun Meena isn’t loud or flashy, he’s calm, observant, and always thinking two steps ahead. I enjoyed stepping into that space.”

Tanya Bami, Series Head at Netflix India, states the show offers “sharp and quirky tones and unpredictable twists,” filmed across four countries and multiple international airports, unpacking “an intricate smuggler’s network in classic Neeraj Pandey style.”

The series also features Sharad Kelkar, Amruta Khanvilkar, Nandish Singh Sandhu, Anurag Sinha and Zoya Afroz. 

Hashmi had previously starred in the Netflix series 

, and was noted for his hilarious cameo appearance earlier this year in 

'Taskaree: The Smuggler’s Web': Emraan Hashmi Crime Series Gets Premiere Date

 in the Best International Feature Film category. Backed by Karan Johar, the film is among the 15 titles on the Oscars 2026 shortlist, from which five will advance to the final nominations, set to be announced on January 22.

With Martin Scorsese serving as an executive producer, 

stars Ishaan Khatter, Janhvi Kapoor and Vishal Jethwa. Johar took to Instagram and wrote that he was "over the moon" with the news.

“I am not sure I can articulate how proud, elated and over the moon I am with the journey of 

. All of us @dharmamovies are privileged to have this proud and important film in our filmography. Thank you @neeraj.ghaywan for making so many dreams of ours come true. From Cannes to being on the Oscar shortlist this has been such an overwhelming journey! Love to the entire cast and crew and teams of this special special film! Upwards and onwards," Johar added.

finds itself in strong international company on the shortlist, which also includes Argentina’s 

Ghaywan also took to X to share the news and write, "We’re deeply grateful for the extraordinary love and support we've received from around the world."

The film’s story—of two friends from marginalised communities aspiring to become police officers in search of dignity and stability

is inspired by a 2020 New York Times op-ed, ‘Taking Amrit Home’, by noted writer-journalist Basharat Peer. In the next round, Academy members from all branches will be invited to watch the 15 shortlisted films to vote.

began its global journey with its premiere at the 

Toronto International Film Festival (TIFF)

. The film was released theatrically in September.

Oscars 2026 | Neeraj Ghaywan’s ‘Homebound’ Shortlisted in Best International Feature Film Category

Saregama India Ltd, India’s oldest music label and a leading entertainment company, on Tuesday announced a strategic partnership anchored in a significant equity investment in filmmaker 

, scripting a new chapter in the Indian entertainment landscape.

As part of this partnership, Bhansali Productions will exclusively sell all its future film music to Saregama, based on a pre-agreed formula. The structure guarantees Saregama a steady pipeline of premium, marquee film music, eliminating competitive bidding, thereby securing long-term market share in new music and controlling acquisition costs. Aligned with its evolving content strategy, Saregama will gradually streamline its in-house film production activities over the next 1–2 years, focusing instead on such strategic partnerships.

Commenting on the alliance, Avarna Jain, Vice Chairperson, Saregama India Ltd, said, “This partnership underscores Saregama’s strategy of aligning with India’s finest creative minds while delivering long-term value to shareholders. Bhansali Productions’ excellence in storytelling and content creation perfectly complements our leadership in music and entertainment.”

The partnership brings together Bhansali Productions’ distinctive and unmatched cinematic storytelling with Saregama’s leadership position in Music and Live Events, setting the foundation for a next-generation media and entertainment house.

Sanjay Leela Bhansali said he has found a trusted partner in Saregama for his visionary cinematic endeavours.

“For me, powerful and meaningful cinema requires time, trust, and a deep respect for the process. In Saregama, we have found a partner that understands this philosophy. We share a deep respect for art, music, and story telling that is both grounded in tradition and resonates with audiences across generations,” Bhansali said.

Bhansali Productions has a pipeline of over 10 feature films planned over the next three years. Their upcoming release 

 and starring Ranbir Kapoor, Alia Bhatt and Vicky Kaushal; and 

, a romantic drama directed by Ravi Udyawar, starring Siddhant Chaturvedi and Mrunal Thakur.

Saregama and Bhansali Productions Announce Strategic Partnership

 guns for glory in the action-packed teaser for 

, a sequel to JP Dutta's beloved 1997 classic. Directed by Anurag Singh, the sequel highlights major engagements from the 1971 Indo-Pak War, spanning land, sea and sky-bound skirmishes. 

, Varun Dhawan and Ahan Shetty play the other bravehearts in what is described as a rousing tribute to the Indian armed forces. Amid guns, tanks and explosions, we get glimpses of the soldiers' personal lives, with Mona Singh, Sonam Bajwa, Anya Singh and Medha Rana playing their wives and lovers. 

Deol, as expected, looms over the enterprise, firing a rocket at enemy battalions and extolling the might of the Indian army. "Awaaz kaha tak jaani chahiye?" he thunders, to which the response comes, "Lahore tak." 

 was released on occasion of Vijay Diwas, which commemorates the Indo-Pakistani war of 1971. The film is slated to release on January 23, 2026. 

 aims to recreate the emotions and scale that made the original film a landmark. The story is expected to celebrate the heroism and unity of soldiers while adding a contemporary layer through new characters and perspectives. The film is produced by Bhushan Kumar, Krishan Kumar, J.P. Dutta and Nidhi Dutta under T-Series and J.P. Films.  Releasing ahead of the Republic Day weekend, it's is positioned as one of the biggest theatrical releases of 2026.

, was also a box-office sensation. He's the only returning actor from the original cast of 

. Incidentally, Ahan, who plays a Navy fighter in 

, is the son of Suniel Shetty, one of the leads of the 1997 film. 

The iconic song 'Sandese Aate Hai' has been recreated in

 with Sonu Nigam, Diljit Dosanjh, Vishal Mishra, and Arijit Singh reportedly lending their voices to the emotional track. 

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 is now looking ahead. After the blockbuster opening of his spy actioner 

Ranveer is prepping to begin two tentpole movies, including a classic franchise and a zombie thriller.

The actor is now expected to begin filming 

, the film, which was announced two years ago. After numerous scheduling shifts, Farhan is believed to have locked the first half of 2026 when he plans to take the film on floors. 

 Ranveer's post-apocalyptic film, tentatively titled 

, will go on floors between July and August. The film will be helmed by director Jai Mehta, who had co-directed 

 with his filmmaker-father Hansal Mehta, and then made the show 

The report quoted a source, who stated that 

 will go on floors first in  2026, after that Ranveer will deep dive into 

will focus on building the post-apocalyptic zombie thriller world of the film, which reportedly follows the protagonist's fight for survival.

According to the report, Jai will "reimagine Mumbai in 

' style set-up" for the film, with the makers aiming to recreate a devastated Mumbai setting. "Large sections of the city will be digitally aged to give it an abandoned look. Parts of the film will be shot in Mumbai, before moving to other locations," the source was quoted as saying.

Ranveer, meanwhile, is basking in the glory of 

as the Aditya Dhar directorial is on a record-breaking run. The spy thriller minted a whopping ₹31.80 crore nett on its second Monday, setting the tone for a successful second week. In its first week, the film had collected ₹218.00 crore and then went on to record a second weekend of ₹146.60 crore. The 11-day total of the film stands at  ₹396.40 crore nett (India).

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India’s Union ministry of information and broadcasting has denied screening permission to 19 films at the 2025 

International Film Festival of Kerala (IFFK)

, prompting criticism from festival organisers and filmmakers who describe the move as unprecedented in the event’s history.

The festival, underway in Thiruvananthapuram from December 12 to 19, was forced to cancel multiple screenings after exemptions were withheld for a group of films spanning continents, eras and political contexts. Among the titles affected were several Palestinian works, including 

, Sergei Eisenstein’s 1925 Soviet classic, widely regarded as foundational to modern film language and celebrated globally this year on its centenary.

Although films screened at festivals are not required to obtain censor certification, they must receive an exemption from the ministry. Organisers say that while individual films have faced objections in the past, this is the first time such a large number of films have been blocked simultaneously, throwing the programme into disarray.

Cuckoo Parameswaran, vice-chairperson of IFFK, told reporters that the decision had logistical and financial consequences for attendees. “187 movies were sent to the I&B ministry for exemption. We did not get approval yet for 19 movies. There are many people who took flight tickets and registered for IFFK to come here. This creates a lot of issues,” 

said, adding that nine screenings were cancelled on December 15 alone.

, Sandhya Suri’s internationally acclaimed film examining caste hierarchies, which premiered at Cannes and has yet to receive an Indian theatrical release. Suri is serving as a jury member at the festival this year. The Spanish film 

, which traces the life of a rising rap artist and bears no political connection to its title, was also among those denied permission.

 by Mauritanian filmmaker Abderrahmane Sissako, who is being honoured with a lifetime achievement award at this edition of IFFK, as well as films previously screened at the festival, such as 

Veteran filmmaker Adoor Gopalakrishnan criticised the decision, calling it an act of cultural illiteracy. “All these movies are very important movies in the history of cinema. If they say it cannot be screened then that is because of ignorance,” he told reporters. “

 can be considered a textbook to study cinema. The authorities should reconsider this decision.”

The ministry has not yet issued a public explanation for the refusals.

Centre Blocks 19 Films at Kerala Film Festival, Including Palestine Titles and Cinema Classic 'Battleship Potemkin'

was released on December 15, giving audiences a glimpse of the unpredictable, frenetic nature of the philosophical actioner. The film, co-starring 

, and Raj B Shetty, revolves around an event that changes all their lives. "There's a day you're born and the day you die. Life is just a dash in between these two dates," we're told in the voiceover, as the tightly cut trailer then shows us these three pivotal characters whose lives are intertwined. While Raj B. Shetty appears to play an innocent civilian caught in a chaotic circus, Shiva Rajkumar and Upendra's roles seem to have a touch of surrealism. 

The film is written and directed by Arjun Janya and will be out in theatres on December 25. 

Produced by Ramesh Reddy under the Suraj Productions banner, it features Satya Hegde as the cinematographer. Upendra was last seen in the 

, alongside Ram Pothineni, while Shiva Rajkumar was seen in 

 (2024). Raj B Shetty, on the other hand, comes fresh off the success of 

 in the wake of the film’s soaring success, Shetty opened up about the evolving landscape of Kannada cinema and the urgent need for homegrown films that the audience appreciates. “We need Kannada films that will pull people to the theatres,” he said, indicating that the industry hasn’t had the smoothest run this year.

He recalled the initial hesitation from distributors. “They told me clearly; don’t release it on the 25th, there are bigger films from other languages coming out. But I told them I’ll try. For me, the first week was a trial,” Shetty shared. “The first day we had 70 shows in Bangalore. Second day? 180. By the third day, we hit 340 shows. On Sunday, they started opening 6 PM shows because they just couldn’t accommodate any more demand. Now

 is one of the biggest films in Bengaluru.”

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, being a parent to grown-up children comes with a particular kind of helplessness. Watching them stumble, he admits, is often harder than stepping in to fix things. “For parents, I think one of the hardest things is to watch your kids struggle. You want to say, ‘Forget it. I can fix this for you’,” he says. 

But over time, he has had to make peace with the fact that he can’t. “It’s been a process for me, understanding that I can’t fix everything. They need to have their own struggles and their own challenges.”

Asked how much he’s able to distance himself from 

 journeys, especially given how unforgiving the film industry can be, Khan is honest. “I can’t really distance myself,” he says. A line shared by a friend has stayed with him. “You can only be as happy as your least happy child,” he says. 

He speaks warmly about Sara’s life outside films, mentioning that she’s back at Columbia University and is currently in New York. “She’s in the library, she watched a good play yesterday. I’d love to encourage that side of life apart from the stress of movies.” Acting, he believes, should be approached as a craft, not a competition. “All too often, it becomes stressful and competitive,” he says, adding that it’s something he actively tries to guide his children away from.

With Ibrahim, Khan often talks about visibility. “I keep trying to say something about appearances,” he explains, noting how constant public exposure can dilute mystery. “It’s very old-school to say I should only see you on screen, but every time you go out, you’re recorded.” 

He also admits to something many parents quietly fear. “There’s this scary idea that it won’t be perfect for everyone. If every child has a good school, good college, good job, happy life, that would be a dream. But there might be some rocks in the road for some of them.”

Watch the full interview with Saif Ali Khan on our 

Saif Ali Khan on Parenting Sara and Ibrahim: 'You Can Only Be As Happy As Your Least Happy Child'

The beginning of the year was anything but easy for 

. A break-in at his home left the actor injured, placing him in a situation that could have permanently altered his life. Asked whether surviving a 

 fundamentally changed him as a person or an artist, Khan says, “No, not really. I think I’ve always been aware of some of these things.”

He draws a parallel to the questions he was asked during the pandemic. “People asked me during COVID, ‘Have you changed? Do you have a different outlook?’ And after this incident as well… no, not really. I can’t say I’ve had some kind of epiphany or that I now suddenly know what’s important,” he says.

What the experience did leave him with, however, is a sharper awareness of how close he came to lasting damage. “I feel incredibly lucky and blessed to have gotten away with it the way I did. It was very close,” he admits. The injury, he explains, narrowly missed his spinal cord. “There was a nick there, and that could have led to paralysis. I had lost feeling in my leg for a while.” That brief brush with immobility lingers. “The concept of being bedridden forever or being paralysed is frightening. It still frightens me,” he says.

Khan doesn’t frame the experience as a transformation, but as gratitude. “I’m appreciative that I’m healthy. That keeps me grateful,” he says, adding that the incident may have “accentuated it slightly” without revealing anything new to him. “I’ve always known every day is a blessing. I’ve always lived a certain way, knowing that it’s a privilege to even go through life the way we do.” 

Even ambition, he suggests, exists within that awareness. “My life itself, even though I have aspirations and sometimes fall short or achieve things, is still an incredible privilege. I’m massively lucky anyway,” he says.

With a smile, he adds, “I get the feeling that I have nine lives. Having said that, I might be gone tomorrow.”

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 has signed on to a new film that he admits he can’t fully talk about yet. “It’s a biopic and it’s Bengali, which is a bad clue because it sounds much more regional than it is. There will be a bit of a Bengali accent,” and adds that its something he’s looking forward to figuring out.

What excites him most isn’t the label, but the process. “I’m not doing anything for three months except figuring that out,” he says. For an actor who often juggles packed schedules, that kind of uninterrupted preparation feels rare. “I’m very excited to prep and really get into it. To understand why you’re saying what you’re saying. I just got the line, now I have to understand it,” he adds.

When asked about the last time he felt he truly put in that kind of work, he doesn’t single out a recent film. “I think I’ve worked hard on all of them. Whether it shows or whether it doesn’t,” he admits. Still, he admits that projects allowing deep preparation have been few and far between. “Maybe 

 was the last thing we prepped that way. That was a long time ago,” he says.

Over the years, Khan says his understanding of effort has shifted. “Sometimes I feel you can work too hard at the wrong thing,” he says. Long hours, travel, and exhaustion don’t always translate into meaningful work. “You spend ages, you bleed all your blood out, and it doesn’t go anywhere. It’s heartbreaking.”

What he values now is focus. “More concentrated work with sharp directors who don’t exhaust you. Nine to six, rock and roll, and you’ve done something amazing,” he says, That, for him, is real work. “You’ve sweated a bit, but it’s not wasted,” he adds.

Exclusive | Saif Ali Khan’s Next Is a Bengali-Rooted Biopic: ‘I’m Excited to Prep And Really Get Into It’

Move over superheroes and song-and-dance spectacles. In a refreshingly sinister turn, this year will perhaps be remembered as the year India swept its hair back, offered up her neck and said, “Fine, go on then — take a bite.”

Vampires have always been everywhere. But curiously, India has somehow remained a strangely reluctant host to bloodsuckers. We opened the door, peered out, shrugged and went back to watching family melodramas.

Sure, there were early attempts. In 1989, Bengal gave us 

, featuring Prosenjit Chatterjee and Moon Moon Sen, heavily reliant on earnest gazes and a very tired fog machine. A year later, the Ramsay Brothers graced us with 

, a B-grade sex-slave horror oddity where the vampire was named Nevla. Yes, mongoose. This one specialised in biting young women to spread his evil seed, because the Ramsays never met a metaphor they couldn’t make slightly uncomfortable.

And then… silence. Decades passed, during which Indian cinema flirted with the vampire myth the way filmy heroes flirt with heroines — lots of circling, very little commitment. A Malayalam film titled 

staggered onto screens in 2013. Bengal tried again with 

 in 2020. Then there was the Netflix show 

 in 2023, but none of these quite pierced the jugular of the zeitgeist. An awkward scratch rather than a seductive bite. India, it seemed, just didn’t have the neck for vampires.

 technically arrived last year, but its India release in early 2025 set the mood — a bit of German Expressionism and a lot of eyeliner. Then came 

, and overnight, the undead and the uncanny were once again coursing in the cultural bloodstream, strolling through trend pieces, and on X threads.

This is the moment when the Internet announces that vampire movies spike during recessions. Or that zombies flourish under Republican governments while vampires bloom under Democrats. These theories have charts. They have graphs. They have earnest young people explaining them in Reels. They are delightful and entirely useless when trying to understand why India, all at once, developed an appetite for the fang and the femme.

What is more helpful is to simply look at what has been happening on our screens. For the years since the Covid-19 pandemic, the theatrical space has been a sweaty, booming showcase of hypermasculinity. 

(all in 2023) showed that a certain kind of brawny cinema could flatten everything in its path. The trend picked up steam, and 

 followed in 2024. In that climate, anything stranger or led by women didn’t stand a chance — 

, for all its sleek action and ambition, was dead on arrival. 

Something shifted this year. A parallel movement slipped in. 

Rashmika Mandanna’s toothy theatrics in 

. Add to that Rukmini Vasanth’s occult charge in 

 — not a vampire film, but fluent in spell work — and suddenly you had a constellation of women who were more terrifying, more interesting, and more unapologetically feral than the bulky men on the marquee.

Squint at the rise of vampire films and you can almost see a cultural argument about who’s allowed to be monstrous now. As post-pandemic cinema doubled down on testosterone, the monstrous feminine crept in as aesthetic insurgency.

— but the scale is. These women refuse patriarchal legibility. They irritate, seduce, weaponise. The monster isn’t the point; the reclamation is. In 2025, monstrous women don’t soften. They stomp in, leave claw marks, and demand attention. Glorious.

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'Parasakthi' Row: Vijay Antony Claims Title Registered With Him As Sivakarthikeyan Announces Film; Producers Counter

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