Lights, Camera, Reflections: Navigating the Indian cinematic landscape of 2023

Animal:

Despite its many issues and a terrible second half, “Animal” cannot be ignored. It was one of the most noticeable, if not one of the best films of the year. I was on board with the story, execution, and performances of the film, at least for the first half. It is only in the second half that, for me, the film became somewhat boring and lost its sense of purpose. One cannot deny that it is worth watching just to bask in the glory of a marvellous performance from Ranbir Kapoor and the unbridled madness of Sandeep Reddy Vanga in the direction department, if not anything else. The film’s music and its many set pieces are an added advantage if one decides to dedicate 3 hours and 20 minutes of their lives for this. However, it’s worth noting that there is an even longer cut of the film coming to Netflix.

Kho Gaye Hum Kahan:

The trailer for “Kho Gaye Hum Kahan” grabbed my attention, and then came a flurry of poor reviews that nearly made me drop the idea of going for this film. Thankfully, I trusted my instincts and gave this film a genuine chance. It turned out to be one of the best films of the year on modern relationships and existence that I have seen in recent memories. Not only did the story work big time for me, the characters felt like they were from the posh society of Delhi or Bombay and were rendered with quirk, fun, tragedy, and honesty by the ensemble cast. The biggest surprise of the lot was Ananya Panday for me, who acted her heart out. Just because the character is somewhat close to what she experiences every day, it turned out to be one of her most believable and wholesome performances. Adarsh Gaurav and Siddhant Chaturvedi have always been terrific actors, and they prove their worth once again. The biggest quality of the film lies not only in its performances, setting, music, and cinematography but in its story that feels relevant, if not entirely relatable, for the sections of society that are not super-rich.

IB71:

When I watched this film, I believed that a large chunk of it was fictional, as the story felt too over the top and unbelievable. It was only when I researched the entire incident that I realized that the majority of the film unfolded exactly how the actual events transpired. This not only elevated my respect for the film but also made me take notice and appreciate the craft that went behind making it. Vidyut Jammwal was easily the standout in the film and once again proved that there was more to him than just doing death-defying action sequences. The story, drama, and intrigue in the proceedings are easily the next best things about the film, and it culminated with one of the most uplifting songs, “Vijayi Bhava”, that I got to listen to in a Bollywood film this year.

Jaane Jaan:

The devotion of Suspect X gets a terrific rendition in Sujoy Ghosh’s “Jaane Jaan” with stellar performances from Vijay Verma, Kareena Kapoor Khan, and Jaideep Ahlawat. In fact, it was Jaideep Ahlawat who overtook the others in terms of performance and made the film as special as it ultimately turned out to be. While the story was engaging and also had some holes to contend with, it was the performance from Ahlawat and the others that ensured complete suspension of disbelief, at least till the time the credits rolled. While fixing a few things would have improved the film, it was still one of the most atmospheric, eerie, and well-made thrillers of the year.

Sirf Ek Bandaa Kaafi Hai:

This was one of the best films of the year for me, even though I don’t agree with the politics of it. The sheer power in the execution of the film and the intrigue that the story is laced with were enough to make me watch this film numerous times on Zee5. The film became so popular on OTT that they released it theatrically. Manoj Bajpai is known for playing such hard-hitting characters, and he once again proves his worth by carrying the film and communicating the sense of urgency and importance of the subject matter primarily through his portrayal of the advocate in the film. The camera lingers on him throughout, and he justifies the camera’s gaze by acting his heart out and making every frame that he features in memorable. Apart from his stellar performance, the story and the predicament that the film deals with were important issues to plaguing the society, and it was addressed with gusto and power.

The Vaccine War:

It is based on the book “Going Viral” written by Prof. Balram Bhargava of the Indian Council of Medical Research and primarily revolves around the creation of India’s first indigenous Covid-19 vaccine and the challenges that came in the way of its manufacture and distribution. The film moves briskly, has solid performances throughout, has some bravura moments, and is a recreation of the events written in the book, beat by beat. There were many who were calling it government propaganda and lies, but I had a solid time watching it in theaters. Vivek Ranjan Agnihotri, this time around picks a much more subtle and less controversial subject and shows that he is still capable of carving out an interesting and intriguing film out of it. His deft touches are visible all around, leaving a good taste in the mouth after it is over.

The Kerala Story:

“The Kerala Story” has been one of the most divisive and controversial films of the year, and it was undeniably one of the most proficiently made films that elevated key issues to the extent of inducing dread and a profound sense of misery and morose feeling. This understanding goes beyond the plight of the protagonist, extending to a feeling of sadness for those who suffered and for the numerous others who would suffer in years to come due to the issues addressed in the film. There were some narrative issues here and there, and the director did come in for some flak due to his cavalier approach to many aspects of the film. However, what cannot be faulted was his unflinching desire to create a profound impact and present his story and character in the best way possible. The film is aided by great performances and will stand out as one of the best performances from Adah Sharma ever.

12^th Fail:

I missed watching 12th Fail in theaters when it was released, but thankfully, it came out on OTT on 29th December, and I finished watching it yesterday, just in time to put it in this list. An underdog story can never go wrong when done with honesty and conviction. Vidhu Vinod Chopra set aside his political and other motivations and got to work, telling the story of Manoj Kumar Sharma as he fought tooth and nails for years even failing in 12th grade initially before becoming an IPS officer.The unimaginable hardship, pain, and sacrifice that Manoj has to go through makes up the crux of the storytelling. The film was heart-warming, genuine, and inspiring in every way possible. Vikrant Massey gave one of the best performances of the year, and Chopra easily directed one of the best films of his recent career. The film proved to be a surprise box office smash, proving trade pundits wrong, who had predicted that only larger-than-life genre films with big scope and out-of-the-world elements would be able to attract crowds in theaters post the pandemic and OTT boom.

Maaveeran:

I wasn’t expecting anything from this film, but it turned out to be one of the funniest and most well-made superhero films of the year. “Maaveeran” is the only superhero film that features on this list, and it is for all the right reasons. For once, we have a superhero who doesn’t want to be one until the very end. He is representative of the most tormented class of the society and has taught himself to live that life successfully, but when something strange happens to him that gives him superhuman abilities, he becomes an unwilling hero for the section of the society that had no one. Social commentary, comedy, action, and heartfelt drama find a harmonious and seamless emulsification in this story that is both effective and impactful. Jogi Babu, in a short role, essays the funniest character that I have seen in a film this year. Sivakarthikeyan is in his elements and renders the protagonist with honesty and heart. Madonne Ashwin’s the direction is spot on.

Por Thozhil:

One of the two police procedurals that feature on this list. It is, however, the only serial killer film that features on this list, even though there were many from the genre that graced the screens this year. Apart from a simmering chemistry between R Sarathkumar and Ashok Selvan, who portray the two investigating cops, the film gains heavily from Sunil Sukhada’s fearsome portrayal as the serial killer. The director duo of Vignesh Raja and T. Senthil Paramasivam use misdirection to their advantage, conjuring up a mystery that doesn’t reveal its cards until the very end. Many compared the film to “Ratsasan”, and I can understand where they are coming from, but I feel that this is a whole new film and has nothing to do with “Ratsasan” or any other serial killer thriller.

Virupaksha:

“Virupaksha” was a wonderful amalgamation of horror and thriller elements to present a story that was as unpredictable as it was thrilling. The brilliant performances in the film further elevated the feel of the story and put to rest any questions that might be raised about the realism and grit of a story that was so out of this world. Sai Dharam Tej and Samyuktha Menon’s chemistry in the first half works so well that it enhances the impact of the tragedy befalling the couple in the second half. This not only fills the film with genuine stakes for the protagonist and the other characters but also successfully elevates the thrilling elements and the shock value that comes with its uncanny and unexpected culmination. The horror elements were not only profound but also well done throughout.

Kannur Squad:

“Kannur Squad” is one of those films that can easily be watched and enjoyed at least twice since there is so much in it to absorb. The film looks gorgeous, has great performances, the drama is for real and has many aspects to it, and the mystery of the story works for the entirety. It is one thrilling cat-and-mouse game that is bound to keep you hooked from start to finish. Even the two not-so-important cases in the film will hold your attention when they are unfolding. There are no female love interests in this film, and that makes it so much better simply because that time that could have been spent on romance or a song-and-dance routine is used to squeeze in two more investigations that not only show the squad in action but also give us an idea about how they work. The ends up being a Gripping Police Drama that masterfully balancesrealism with Mammootty’s heroic brilliance.

Viduthalai: Part 1

Vetrimaaran brings his all-too-well-known and celebrated style of filmmaking to a story that is as evocative as it is harrowing. The film begins with a railway tragedy perpetrated by Naxalites and culminates with the capture of a Naxalite leader who was alleged to be the mastermind of the tragedy. The rest of the film unfolds between these two points and successfully transforms the viewer’s opinion of who is right and who is wrong. The film is viewed through the eyes of a newly recruited constable and shows some of the most harrowing things that have been done in the name of maintaining peace and harmony. Vetrimaaran’s direction and editing of certain moments are what make this film special and standout. The performances are consistently brilliant, and Vijay Sethupathi shines in a small but significant role. I am eagerly waiting for the 2nd part of the film where the story will possibly culminate.

Salaar: Part 1 – Ceasefire

“Salaar” is the only film that I watched three times in theaters and wouldn’t mind watching again if I had the right company. Everything about the film is repetitive, cliché, over the top, and ultraviolent, but what makes it the best film of the year for me is the execution and the presentation of the hero, elevated through set pieces. The presentation of the protagonist and the causes that he fights for is so heroic and inspirational that it strikes a chord with me every time I watch the film. The background score is somewhat weak but still works well enough to elevate key moments and arouse our emotions. Prabhas is the only man who could have rendered a character like this so inspiring and real, and he puts his best foot forward. Prashanth Neel’s world-building in the second half, and what he shows us, some glimpses of in the end, left me excited for the second part of the film, and I am sure that he will only take the story higher from this point on.

The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.

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