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nairtejas
I was a Top Contributor (India) here at IMDb (read more) but I'm less active these days. I hang around at my personal website.
Lists
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Book Adaptations
Adaptations of books read before January 2024 are not added unless I reread any of those.
Movies I Turned OFF In 30 Minutes Or Less
Also, the title is sort of a figure of speech, which means the list also contains films which I did watch wholly but did not like.
2023 MAMI Mumbai Film Festival - Watchlist
The much-awaited MAMI Mumbai Film Festival is back in 2023 after a gap of 2 years. This time it's happening between 27 October and 5 November. That's 10 days.
And here is a list of must-watch films that I hope to catch this year, especially because I'm on a short sabbatical. I'll do that by booking a show at 8 in the morning on BookMyShow or waiting in a serpentine queue for a festival favorite or by cheating the system (how?). Whatever it takes, right?
Curated based on hype and buzz, performance in other film festivals around the world (chiefly TIFF, Venice, Cannes, Telluride, and Sundance), and personal bias.
For more updates and takes on the MAMI festival, check out my website - tejasnair.com.
2023 - Best Malayalam Films (Critics' Choice)
The best Malayalam films of 2023 as selected by eminent critics. This list takes into consideration the reviews and ratings by Nowrunning.com (multiple reviewers), Lensmen Reviews (Aswin Bharadwaj S), Film Companion (multiple critics), The Firstpost (Anna Vetticad), The Hindu (S R Praveen), and New Indian Express.
These top 2023 Malayalam films are updated every other week and are ranked on the basis of their aggregate score, which is a mean value of all the ratings given by the critics. Because not all films are reviewed by every critic, a title is added into this list only if it has been reviewed by five or more people/publications (including me). So, in essence, all Malayalam films releasing between January 2023 and December 2023 (in theatres or OTT) will be considered by these seven critics me.
Appreciate your constructive thoughts in the comments section below. Thank you and enjoy! For more such analyses, visit my blog - https://www.nairtejas.com/.
Last updated: 5 June 2024.
Exits (outgoing rank): O.Baby (2023) (#15), Ntikkakkakkoru Premondarnn (2023) (#11), B 32 Muthal 44 Vare (2023) (#12), Kadina Kadoramee Andakadaham (2023) (#13), RDX: Robert Dony Xavier (2023) (#14), Pachuvum Athbutha Vilakkum (2023) (#15), Pranaya Vilasam (2023) (#11), Pookkaalam (2023) (#13), Madanolsavam (2023) (#14), Ayisha (2023) (#14), Rekha (2023) (#15), Neelavelicham (2023) (#15)
Re-entrants (incoming rank): NA
IFFK 2022 - Personal Watchlist
This list doesn't list all titles screened at the festival.
Malayalam Films in Production Hell
This is a list of all Malayalam films that are currently in development hell i.e. those whose production has been stalled for the longest time due to one or the other reason. Some of the most common reasons are studio and production issues, casting, story rewriting, and legal hurdles.
PS - If you have a tip about any of these films, let me know. Thanks.
2022 - Best Malayalam Films (Critics' Choice)
The best Malayalam films of 2022 as selected by eminent critics. This list takes into consideration the reviews and ratings by Nowrunning.com (multiple reviewers), Lensmen Reviews (Aswin Bharadwaj S), Film Companion (multiple critics), The Firstpost (Anna Vetticad), The Hindu (S R Praveen), and New Indian Express.
These 2022 films are updated every other week and are ranked on the basis of their aggregate score, which is a mean value of all the ratings given by the critics. Because not all films are reviewed by every critic, a title is added into this list only if it has been reviewed by five or more people/publications (including me). So, in essence, all Malayalam films releasing between January 2022 and December 2022 (in theatres or OTT) will be considered by these seven critics me.
Appreciate your constructive thoughts in the comments section below. Thank you and enjoy! For more such analyses, visit my blog - https://www.nairtejas.com/.
Last updated: 6 February 2023.
Exits (outgoing rank): Naradan (2022) (#14), Salute (2022) (#15), Jo and Jo (2022)] (#14), John Luther (2022)] (#15), Antakshari (2022) (#13), Jana Gana Mana (2022) (#15), Meppadiyan (2022) (#15), Super Sharanya (2022) (#13), Priyan Ottathilanu (2022) (#14), Kuttavum Shikshayum (2022) (#15), Bheeshmaparvam (2022) (#11), Vichitram (2022) (#14), Dear Friend (2022) (#15), Appan (2022) (#14), Palthu Janwar (2022) (#15), Super Sharanya (2022) (#14), Rorschach (2022) (#15), Kooman (2022) (#15)
Re-entrants (incoming rank): NA
Best Malayalam Films of 2024 (Critics' Choice)
The best Malayalam films of 2024 as selected by eminent critics. This list takes into consideration the reviews and ratings by several critics.
These top 2024 Malayalam films are updated every other week and are ranked on the basis of their aggregate score, which is a mean value of all the ratings given by the critics. Because not all films are reviewed by every critic, a title is added into this list only if it has been reviewed by five or more people/publications (including me). So, in essence, all Malayalam films releasing between January 2024 and December 2024 (in theatres or OTT) will be considered by these seven critics me.
Appreciate your constructive thoughts in the comments section below. Thank you and enjoy!
Last updated: 6 July 2024.
Exits (outgoing rank): Abraham Ozler (2024) (#6), Sureshinteyum Sumalathayudeyum Hridayahariyaya Pranayakatha (2024) (#13), Guruvayoor Ambalanadayil (2024) (#14), Thalavan (2024) (#15)
Re-entrants (incoming rank): NA
BIFFes 2023 - Personal Watchlist
This list doesn't list all titles screened at the festival.
2024 MAMI Mumbai Film Festival - Watchlist
The much-awaited MAMI Mumbai Film Festival is back in 2024, although for a shorter duration. This time it's happening between 19 October and 24 October. That's just 6 days compared to 10 days last year.
And here is a list of must-watch films that I hope to catch this year. I'll do that by booking a show at 8 in the morning on BookMyShow or waiting in a serpentine queue for a festival favorite or by cheating the system (how?). Whatever it takes, right?
Curated based on hype and buzz, performance in other film festivals around the world (chiefly TIFF, Venice, Cannes, Telluride, and Sundance), and personal bias.
For more updates and takes on the MAMI festival, check out my website, tejasnair.com.
Reviews
The Wild Robot (2024)
Full Package
The Wild Robot entered my watchlist out of nowhere and stunned me like no animation film has done since Inside Out 1. It is immediately likeable, with a robot crash-landing in a forested island and upon activation looks for its first task from a human. Only there is no one around. It's a story that weaves itself into one about a mother-child bond and I could so much relate to it with my experience as a son to a loving mother. What took me by surprise was the dystopian feel of the film in the latter parts which I did not see coming. A wildly engaging and heartful film that must be enjoyed on the big screen with the whole family.
Pazhanjan Pranayam (2023)
Simple
Pazhanjan Pranayam (Old-School Romance) took me by surprise as obscure Malayalam films rarely do. This is a simple story of a middle-aged bachelor living with his ailing father. He's been on the lookout for a bride since his 20s but has been unsuccessful, and that is when he hires a woman as a full-time maid. Pazhanjan Pranayam excels in storytelling above else, and although most of the proceedings are predictable here, there's a certain charm to the characters. Romy David went a bit overboard here but I liked him. It seems cheesy and at least one sequence is a bit over-the-top but overall the film manages to put a smile on your face. It did for me.
Good One (2024)
Cosy
Before writing this, I checked my calendar and half-planned a trip to a nearby bird sanctuary on the upcoming weekend. That is the effect Good One had on me, although the makers had different plans with the way the film moves from being about a trio nature-hiking to one about relationship dynamics. The shift is sudden and it's only then you realise that the writer had subtly hinted it before. You'd be lying if you say you were seeing it coming. All the cosiness the film had created till then goes away but you still stare into the nature and wonder about things. Good One has a good effect on you and I recommend it. Lead actor is terrific and so are the other two actors. Together, they have renewed my hiking plans.
Anora (2024)
Ball (MAMI MFF 2024 #16)
I had a ball watching Anora, a massively funny film with overshoots of gender and profession biases, that I almost ignored the point that Sean Baker was trying to make. Ani decides to marry Ivan, son of an oligarch, after spending a few days with him as an escort. As expected, things take an ugly turn but Sean Baker manages to narrate all of it in a manner that induces laughter so frequently you almost wonder if the Russians aren't that bad. There's also tension in the film that struggles to crescendo and that's where Baker blends his messages not making them too obvious. The entire cast is phenomenal here so I won't just give props to Mikey Madison who just seems to have a lot more screen space. A very funny and sad film at the same time.
(Watched at its India premiere as closing film at the 2024 MAMI Mumbai Film Festival.)
Rumours (2024)
Good Satire (MAMI MFF 2024 #15)
I'm a sucker for satires so Rumours is mostly an A game for me but it felt like the directors (three of them here) lost what to do with all that build-up as the plot loses its way. There are bulbous shoots of top-tier political satire here, accentuated by the incredible cast, but I can't say for sure that I got what they were trying to prove at the end. Is it that all politics is meaningless and only about selfishness? What was Alicia Vikander doing here in one of her worst performances? Maybe it's the gibberish that she was spewing that got me off but Rumours ended in a bad note than how it started. The first 40 minutes of Rumours is a 10/10.
(Watched at the 2024 MAMI Mumbai Film Festival.)
A Different Man (2024)
Surreal (MAMI MFF 2024 #14)
I was not sure when to laugh or look pensive while watching A Different Man but I went with the audience and laughed when they did and thought when they did. Although I'm not sure I agree we should have laughed when we did because the story is of identity crisis above anything else. In this film, a man with facial deformities assumes another life after a successful surgery but is overwhelmed by what his new life is failing to give him and what the old life in hindsight gave him. It's a surreal experience where you will end up thinking about your own life should given a chance to change it and reborn as a new man. A Different Man shows that changing to another person looks good but it's the case of grass is greener on the other side. Sebastian Stan is adorable here.
(Watched at the 2024 MAMI Mumbai Film Festival.)
Little Jaffna (2024)
Electric (MAMI MFF 2024 #13)
You know what's going to happen in Little Jaffna if you've been following the news over the past decade. It may even be easier to predict what will happen to Michael, the central character, if you know the Tamil diaspora in France and a part of it that coddles up to certain causes in Sri Lanka. Yet Little Jaffna is a film that's so electrifying - with a fabulous score and an even better editing - you're bound to get charged up after watching it. The film uses the French boulevards to their maximum effect, giving us viewers a feeling that we're right there in the middle of the chaos created by Michael's new friends who work for a leader whose loyalties lie with a certain group waging war in their home country. A powerful film that has an even more powerful impact. Loved it.
(Watched at the 2024 MAMI Mumbai Film Festival.)
Boong (2024)
Easy (MAMI MFF 2024 #12)
Boong has an iconic opening shot (which some might still take an offense from) but which I feel set the tone for the film and the lead character Boong, the son of a woman is going to be proclaimed a widow by the village. His father has been working somewhere off the India-Myanmar border for a while without any communication, so to find out what's wrong with him, he hatches plans. It's an easy-going film, thanks to Boong and his schoolmate Raju, and their shenanigans but under the film's easy surface are hardhitting takes on gender politics, identity politics, and xenophobia that are hard to miss. It's delightful to watch the young actors play it out - in some cases the rehearsals very evident - but it was difficult for me to alternate between the funny and serious tones of the film. Boong may be a good political film but the blend didn't work out for me.
(Watched at its Asia premiere at the 2024 MAMI Mumbai Film Festival.)
Blue Sun Palace (2024)
Warm (MAMI MFF 2024 #11)
Blue Sun Palace snuck up on me like no other film has in a while. This was not in my MAMI watchlist but its screening fit in my schedule so I went ahead. And boy was I mesmerised. A young woman and a middle-aged man are in love and they spend the night together in a spa store where the former works. The things they talk about and dream about are enough to melt me or anyone who's loved someone before. But the way the film moves after that triggers melancholia that is hard to ignore. Blue Sun Palace is a profound film about loneliness and the way it captures desolation and depression and helplessness is bound to tear you up. It's a film that you want to escape from but once you do you'll keep thinking about it. The man character and his dreamy attitude is something I want to mimic.
(Watched at the 2024 MAMI Mumbai Film Festival.)
Miséricorde (2024)
Mild (MAMI MFF 2024 #10)
Misericordia takes its time to shoot and when it starts shooting, there is no way you can contain your laughter till it crescendoes in the final shot. With very mild humour peppered across the film, it narrates the story of a taciturn man who visits a village to attend a mentor's funeral. There he meets his mentor's wife, his son, and a priest - who all seem to be saying something else from what they have in mind. What I love about Misericordia is how suddenly it shifts its writing to make the viewer laugh, all in a deadpan style. Reminded me of Deerskin (2019) and The Bra (2018).
(Watched at the 2024 MAMI Mumbai Film Festival.)
Ghatashraddha (1977)
Fabulous (MAMI MFF 2024 #8)
I love films about superstition so Ghatashraddha (The Ritual) is right up my alley. In it, a widow befriends a young boy in a vedic school and is currently clueless and uninterested in the daily lessons. The widow plays it safe as she's looked at as a woman who has no bearings in the society. But the boy sees her as a friend, not looking at her through the lens of society. And so begins a friendship that's limited but still bountiful. It's amazing to see how what was shown in a 1977 film is still so relevant. While I was disappointed that the titular part forms only a small part of the film, the proceedings have a good impact on anyone who pays attention.
(Watched the restored version at the 2024 MAMI Mumbai Film Festival.)
The Shameless (2024)
Remarkable (MAMI MFF 2024 #7)
The Shameless is adequately gritty for a film about sex workers but it's the central performances that make it stand apart from films that have the similar story of a woman who escapes her lousy life in search of a better, only to end up in the chaos of life. The no-hold-bar approach is interesting here with ample use of Hindi cuss words and an equally radiant production setup. There's a lot to love in The Shameless and to learn from the central character but it's also the character's naivety that teaches you. I was attentive throughout the film and was continuously amazed how a Bulgarian director was able to pull off a film that looks and sounds so Indian. In a way, it shows the power of collaborative cinema. I'll be watching out for these folks.
(Watched at its India premiere at the 2024 MAMI Mumbai Film Festival.)
Armand (2024)
Frustrating (MAMI MFF 2024 #6)
I can see why it won the Camera d'Or at Cannes 2024 but for the love of my life I could not follow the film after midway. A single celebrity mother is called to his son's school by an incompetent teacher and admin duo to discuss an incident involving his son and his friend. It's a great premise and Armand had my rapt attention, also thanks to the fabulous opening shot and overall camera work till then. But then it meanders into self-pleasure territory and I still have no idea what the director intended, with a melange of abrupt dance sequences and an actor laughing for 3 minutes in a stretch. That's where it all started and the whole affair gets frustrating thereafter to never recover.
(Watched at the 2024 MAMI Mumbai Film Festival.)
Despatch (2024)
Good (MAMI MFF 2024 #5)
Despatch starts off really well and I was rooting for Joy Bag (Manoj Bajpayee) as he starts investigating a murder for a story in his paper. I tell myself this is good cinema until Joy gets entangled in a mess. Then all goes haywire as the plot grips and you scratch your head wondering who called him and why and what happened there and oh was that it. Despatch is a film with a lot of potential to send a message about whistleblowers but in an attempt to be a lot of things together, it ends up being a master of none. Still, this is a good Kanu Behl film if you have the time to watch and appreciate Bajpayee's natural acting. Just pay extra attention in the last parts.
(Watched its world premiere at the 2024 MAMI Mumbai Film Festival.)
Maya Miriga (1984)
Fascinating (MAMI MFF 2024 #4)
The period of 1980s Odisha is fascinating for someone who is watching it four decades later. It captures the gradual disintegration of a joint family with finesse, giving weightage to each generation equally and letting us judge and decide what happened. It's interesting to see the parents toil hard so that they give to their children and the children when they grow up coming up with their own dreams in which sharing with parents or siblings does not exist. Maya Miriga (The Mirage) takes us through a journey of years passing by. There's a sense of sadness that envelops the film, making you part of the despair. It's tragic and I loved it.
(Watched the restored version at the 2024 MAMI Mumbai Film Festival.)
Angammal (2024)
Pertinent (MAMI MFF 2024 #3)
Angammal (name of the protagonist) surprised me with its nuanced take on human complex. Angammal, the lead character is a ferocious woman who is known in her village as a rigid person who does what she likes. She doesn't pay heed to anyone, not even her sons. So when her city-dwelling son decides to introduce his girlfriend to his family, he instantly finds a problem: his mother's habit of wearing a sari without a blouse. Mind you, Angammal has always worn her sari blouseless because she doesn't feel a need for it, so it's not like the son can go up to her and serve the issue. The film is so relatable that you will find yourself in the shoes of most of the characters, and that is the charm of Angammal. A drama film that hits a message home. A message that's still relevant as it was in the 90s in which the film is set.
(Watched at its world premiere at the 2024 MAMI Mumbai Film Festival.)
Agent of Happiness (2024)
Joyful (MAMI MFF 2024 #2)
Watching Agent of Happiness, I was not sure if it's a satire because the happiness index calculation seems... so simple. I mean, the barometer of happiness, if it can exist, is so complex as there are far too many things to factor in. It was wonderful to see the interviews that the two lead characters take of people from different strata and the potshots at some people who are happy at the expense of others within their family. Maybe the moral is that if most things in your life are good enough, you'll be most likely be happy. Even if that takes into the account the number of cows you own or the latest iPhone. The lead guy is charming and I wish I could be as happy as he is in the film regardless of the sources of his sadness.
(Watched at the 2024 MAMI Mumbai Film Festival.)
The Fable (2024)
Charming (MAMI MFF 2024 #9)
The Fable has a peculiar charm. Maybe it's the Uttarakhand mountains where it was shot. Maybe it's the 16 mm grainy effect that also gives it a cosy and tantalizing effect. I almost felt like I was in the film because that is the quality of production The Fable delivers, with a plot so arresting that you're bound to be involved. The head of a family of four experiences mysterious breaks of fire at his orchard that he suspects to be arson and so begins his quest to find out who it could be. I have watched 9 films so far at the ongoing MAMI Mumbai Film Festival and none of them has floored me like The Fable did. The attention to detail and the score are terrific, not to mention the now famous single-shot opening sequence. It was jaw-dropping and I loved it.
(Watched at the revised version's world premiere at the 2024 MAMI Mumbai Film Festival.)
All We Imagine as Light (2024)
Dreamy (MAMI MFF 2024 #1)
The dreamy score that meanders throughout this freewheeling film, played on sombre images that evoke nostalgic despair, is a pleasure to watch. I was more fascinated by the makers' attention to detail in carving out a Bombay that goes against the popular image and instead shows you its cloying nature. Three women find it difficult to navigate their lonely lives in the city as the camera follows them in public places and into their privacy. I was able to relate to the characters, having lived in Bombay for decades, but the film does go a bit haywire towards the end, and you could blame it on me I lost track there. Overall, a good experience, thanks to the soundtrack and good use of textual design (especially the red font).
(Watched at its Bombay premiere at the 2024 MAMI Mumbai Film Festival.)
CID Ramachandran Retd SI (2024)
Good
CID Ramachandran Retd SI does a better job showcasing the sadness of a retired cop trying to cope with his sudden plain life than the whodunit investigation. It was refreshing to see some good writing around a cop film here, which is basically about the cop starting a PI business in his retirement. The build-up is fantastic and has some novel elements, keeping you guessing at every turn. Though most of the plot involves some convenient writing, I enjoyed working on the clues with my family as we watched it. It's the final exposition that reduced the impact the film should otherwise have had. Nonetheless, a neat thriller with an ever-good Shajohn.
Bharathanatyam (2024)
Quirky
Underneath the quirky comedy peppered all around Bharathanatyam (a classical dance form) lies a life lesson that is summarised by the central character Bharathan as he sits torn in the chaos of his poor life decisions. I found some novelty in how Bharathanatyam presents the conflict, mostly from the perspective of those that are affected the most. While there are lot of convenient plot points here, the film redeems itself by not siding with certain characters and puts the onus on the viewers to judge. It also shows the duality of man very effectively. There's a lot to like in Bharathanatyam than there is to dislike, making this one worth a watch.
Malèna (2000)
Nostalgia
By now, I feel Giuseppe Tornatore is a master of evoking nostalgia in his film's viewers. In Malena, he uses the invisible relationship between a teenager and an older siren - who is the talk of the town for her appeal - to show us how infatuation works. But set during the 2nd World War, the plot goes beyond just voyeuristic pleasure of the teenager (and the viewers) as we witness how the world intrudes into a person's life without their knowledge or permission and wreaks havoc. This is a sad story told in a way that captures the essence of the times gone by. I wonder if this is a story of many women throughout the history of time.
Strictly Ballroom (1992)
Ball
I had a ball watching Strictly Ballroom and I see why it's often said that it has threads of Bollywood in it. That's because it has drama, a lot of dancing, romance, and slapstick. A perfect combination to give a film a little kick of Bollywood. Baz Luhrmann's debut film has the peculiar characteristic of filling you with raw energy. It's almost like you want to stand up and dance after every few scenes, even if you've never danced in your life. That kind of power is hard to create, especially to affect someone like me who is not a fan of musicals. This is not a musical but it uses a lot of good classical and pop music to snatch your seat from beneath you. You've been warned.
(Watched the restored version at a screening organized by the Film Heritage Foundation in Mumbai.)
Picnic at Hanging Rock (1975)
Eerie
I had never heard of Picnic at Hanging Rock, the film or the novel. So going in blind helped me in a way. The strangeness of the film is obvious from the first few scenes, which show young teens getting ready for something. They are all women and are studying at what looks like a strict boarding school. They're getting ready for a picnic and it's ominous. What happens next is something that can best be described as invisible horror. I have always feared human beings more than animals or ghosts, but what Picnic at Hanging Rock had in store for me frightened me more. It's amazing how Peter Weir manages to blend horror in a film that has absolutely nothing horror in it. It's splendid.
(Watched the restored version at a screening organised by Film Heritage Foundation in Mumbai.)
Nuovo Cinema Paradiso (1988)
Nostalgia
I watched Cinema Paradiso for the first time today, on the big screen, in the same auditorium that had its director Giuseppe Tornatore in the audience. And what can I say! It is already one of my fondest memories to have, ironically watching a movie that deals, above all, with nostalgia. It's tempting to take a side for the protagonist, who remembers his childhood camaraderie with his friend, a theatre projectionist. It's an amusing story told with enough humour and love that it's bound to make your eyes wet towards the end. I'm someone who often finds myself give in to nostalgia, so Cinema Paradiso shattered me.
(Watched at the Italian Film Festival organised by the Film Heritage Foundation in Mumbai.)