The 15 Best Indian Films of 2018
2018 will be remembered for films of all the three Khans failing spectacularly at the box office and garnering scathing criticism among the critics. It was Badhaai Ho, Andhadhun, KGF: Chapter 1, Sudani From Nigeria and other small budget films, driven by a well-founded narrative, that roared at the box office.
With the OTT platform making the wave, providing the easy access for cine-goers to the world cinema in the comfort of their homes, audiences are willing to take the effort to go cinema only when the film is worth their effort.
Unlike the Indian films of 2016 that saw commercial films with a strong narrative and craft, the scenario has changed in the last two years. Here are 15 films from Indian cinema that I immensely liked, and loved a handful of them. The prominent miss from the list are Ratchasan, Eeda, 96 and Pariyerum Perumal, all the four films had issues that left me dissatisfied, not that these films are bad by any measure.
Pataakha | Hindi | Vishal Bharadwaj
The most incredible thing about Pataakha is that in spite of simplistic and predictable plot, Vishal Bharadwaj manages to keep the film afloat. The juxtaposition of realistic setting in the hinterlands of rural India with the whimsical plotline, Bharadwaj narrates a timeless folktale, that is endearing and for the most part hilarious. In the spirit, it reminiscent of Marquez – the way events unfold is otherworldly despite the realistic setting.
The film comes with its share of flaws as well. The unidimensional plot and single note characters lack the complexity and intricacy that Bharadwaj is known for. Besides the obvious & on the nose metaphor and ‘not a single wrong note’ performance by the ensemble, Pataakha just manages to capitalize on the pool of talented artists involved.
GulabJaam | Marathi | Sachin Kundalkar
Winner of two National Film Awards, Sachin Kundalkar’s GulabJaam narrates a story a Banker who quits his job to follow his dream – to learn Maharashtrian cooking and become a restaurateur. The film falls into the genre of “chase your dream” and still oozes an affection and charm that most of the film misses out while dramatising the “chase you dream” plot point in the films. In spite of the familiar plot that has been done to death, GulabJaam stands out because of earnest performances and nuanced writing. The film primarily focuses on the art of cooking, and Sachin adds the spices of flawed individuals dealing with their problems, and how cooking helps them to heal. The simmering chemistry between Siddharth and Sonali Kulkarni is endearing, even if the backstory of Sonali’s character feel over-thought but under-written.
Naal | Marathi | Sudhakar Reddy Yakkanti
Cinematographer turned director Sudhakar Reddy Yakkanti explores the restlessness and longing of a child, Chaitanya (Shrinivas Pokale), who discovers a life-altering truth that derails his life as he knows it. His biological mother is different than the one who has raised her in the house. His life comes crashing down to a point that he devises a plan to get to the bottom of it.
The narrative doesn’t meander doing immature antics in order to show the suffering of the child, rather Sudhakar’s narrative is subtly layered by drawing the parallel with a subplot of a calf and a buffalo, and Chaitanya’s father’s relationship with his ailing mother. To convey the afflicted pain on the behaviour of the child and make it tangible for an audience to connect with him largely depends on the performance, of course, direction and writing matters as well, and Shrinivas Pokale nails it by lending equal curiosity and naiveness to the character that reflects his vulnerability and unrest in his behaviour.
15. Mukkabaaz | Hindi | Anurag Kashyap
Packed with vigorous energy, stellar performances across the board and characters spouting rustic dialogues, Anurag Kashyap’s “paintra” in Mukkabaaz almost work in the hybrid genre film where he immaculately marries off Bollywood commercial component with gritty realistic elements true to his signature style. Idiosyncratic & rustic dialogues, spoken in authentic native Hindi, are laced with unforgettable charm reminiscing of Gangs Of Wasseypur, minus the abuses, that packs disgusting one-liners to humorous ones. The humour in the writing is organic, and it eases off the intense and gritty tone of the film.
Vineet Kumar Singh is a revelation here. His transformation from an amateur brawler to a bold lover to “Mike Tyson of Uttar Pradesh” is incredibly unfeigned. Mukkabaaz is dense, insightful though some scenes are theatrical and thoroughly cinematic. Anurag Kashyap lands a satisfying punch against the injustices and hypocrisies that keep India’s sporting underdogs exactly where they are. While he punches the last crude knock by ending the film saying ‘Bharat Mata Ki Jai’. You can read the complete review here.
14. Savarakathi | Tamil | G. R. Adithya
Channelling the inspiration from Toshiro Mifune’s characters in Akira Kurosawa movies and sketching the character with a brush stroke resembling quirky comedic tone in Takeshi Kitano’s films, Mysskin writes the characters that live & breath like us and still appear outlandish. Stepping out of his comfort zone, he takes up the challenge of writing and acting in a black comedy while retaining the aesthetics, irony-laden dialogues and stage techniques he is known for. The plot unravels during the course of a day. A barber’s life entangles with a thug who is out on Parole. Their encounter doesn’t end well for both of them. The performances, particularly the theatric performance of Mysskin, and overly dramatic acting of Shamna Kasim make the film worth a watch.
13. Tumbbad | Hindi | Rahi Anil Barve
Mythology, that is neatly done, is used as an experimental platform to lay bare the extent of greed a man could go before learning that the world is too small for his greed to fulfil. The film explores Indian folklore recounting the story of the birth of Hastar, mildly put he is God of greed, and eventually how that folk instils the greed in the heart of a kid. The sharp writing of the film in the first half an hour is astounding and builds an eerie atmosphere that is seldom witnessed in Indian horror films.
Using the natural lights to fill the darkness, literally and metaphorically, every frame looks as gorgeous as the cantankerous rain that floods the thirsty God. The visuals are a delight to see, even when things start to falter in the second act, the visuals, kind of, distract you enough to not notice them. You can read the complete review of the film, covered at the Venice Film Festival.
12. Andhadhun | Hindi | Sriram Raghavan
Andhadhun is a riveting mash of black comedy and wicked thriller that has traces of neo-noir. Setting the film in the heart of Pune, it unfolds like a slow moving chess game – patiently sketching the characters, rending them a personality, and making us root for them in spite of grey shades they carry. A murder sets off the film in motion and stage is set for an engaging and thrilling second and third act.
But it is here that the narrative derails, paving a path for a subplot of organ harvesting racket that changes the course of the story. It doesn’t feel organic to the fate of blind pianist running away to save himself. All those characters involved in racket drive the plot and ‘create’ the room for revenge, rather it comes naturally. Raghavan doesn’t lose the grip totally and manages to revive the film in the third act involving the primary players and open ending. It is a significant complaint in a terrific film otherwise.
Andhadhun Featured in the 10 Best Hindi Films of 2018 – Check out the List here.
11. Namdev Bhau | Marathi/Hindi | Dar Gai
Mumbai is the city of dreams. The city that has something for everyone. Except for our titular character, a 60-something chauffeur, Namdev Bhau who is looking for one thing that the city can not provide him. Total tranquil silence. Exasperated from the incessant cacophony in his home, at the job and the city, he leaves for Ladakh to find silence and peace in the “Silence valley” He takes the solo journey with a sole objective – not dithered by his age or lack of his knowledge; he is so singularly focused on the quest to find the silence that jaw-dropping and picturesque beauty of Ladakh doesn’t interest him.
Young Writer-director Dar Gai narrates an observational philosophical story of Namdev in a search for silence, unexpectedly learns that attaining the spiritual peace would be far more daunting than looking for a silent place in the world. The sound designing and cinematography comes well together to create the irresistible landscape which doesn’t intrigue Namdev Bhau, thus strengthening the motif of his character further. You can read the complete review here.
10. Manto | Hindi | Nandita Das
Saadat Hasan Manto’s brutal, gut-wrenching and contentious five short stories are weaved together into the personal arc of Manto’s life, and his relationship with his family and friends. The meta-narrative structure allows Nandita Das to address the urgent issue of “freedom of expression” in India that is now relevant more than ever before.
Every frame bleeds of bitter truths of life, the moral decline and social stigma that is still plaguing the society. Aesthetical lyricism is at the display that captures the disposition of several characters. Though at times, the film feels uneven with multiple subplots crammed together, it is Nawazuddin’s internalised performance and Das’s sly writing that manages to capture Manto’s restlessness and emotional turmoil after the division of India. Nandita Das’s interview.