
Thakur Gangadhar Choudhary rules a small community in rural India with an iron hand, and will never permit anyone to speak up against him. He owns most of the land surrounding his palatial home - save for the small patch of land owned by Veer Singh. He summons Veer to his house, and offers him substantial compensation for his land, but Veer refuses, and the Thakur has him killed. Veer's widow dies of shock, leaving behind a young Suraj to be brought up by a kindly widow Mrs. Salma Khan, who is also the mother of Iqbal. Years go by, Suraj grows up joins the Indian Armed Forces, and after a meritorious career, he resigns and returns home to avenge his father's death. What he does not know that he must first come to terms with the local Police Inspector Iqbal Khan, and then the wealthy Collector of the District, Rajpal Chauhan, before he can even think of touching a single hair of Gangadhar Choudhary.
Mohit Suri’s Saiyaara (2025) is a soulful musical romance led by fresh faces Ahaan Panday and Aneet Padda. A heartfelt tale of love, grief, and emotional healing that’s taking the Indian box office by storm.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
When I first saw the pilot for The Owl House, I knew instantly that it was special. It had an immense charm to not only its characters, but its story as well! It quickly became my sister and I’s go to Disney show to watch as a family, and we couldn’t wait to see what would happen next.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.