The year has brought a commendable mix of fiction, biopics, and stories inspired by true events.

By Mayur Lookhar

It’s fair to say that Hindi cinema is going through one of its most tumultuous periods. A lack of quality stories, films underperforming, stars failing, nepotism, controversies, and a relentless #BoycottBollywood brigade that rears its ugly head on social media have all contributed to the chaos. Yet, as the saying goes, rise with the storm, for within its chaos lies the power to transform turbulence into triumph and darkness into light. 

Amidst this storm, we are fortunate to have few talented filmmakers who have delivered some fine films this year. The year has brought a commendable mix of fiction, biopics, and stories inspired by true events. Without further ado, we present Beyond Bollywood’s Hindi Films of the Year.

8 Rautu Ka Raaz – Anand Surapur

Set in the quaint town of Rautu Ki Beli, a village in Uttaranchal largely inhabited by the Rawat community, writer-director Anand Surapur’s Rautu Ka Raaz is a murder mystery that hardly feels like one. The quaint culture of the mountain contributes to this sense. The first murder in over a decade leads the locals to dismiss the possibility of foul play. SHO Deepak Singh Negi, however, has a job to do. The languid milieu offers a unique crime thriller experience for Zee5 viewers. Fine writing, well-etched characters, and competent performances led by Nawazuddin Siddiqui make Rautu Ka Raaz a rare gem from Zee5.

7 Jigra – Vasan Bala

After Kill (2024), Dharma lined up another action film this year, marking Alia Bhatt’s foray into the genre. How could this petite girl handle the demands of a modern action film? Honestly, more than physicality, action is all about the mind, and the intensity Bhatt brought to the role was commendable. Though panned by most critics and a box office failure, I was among the few who appreciated the film. A lot of it can be attributed to Vasan Bala’s styling, the excellent cinematography, BGM, and a fine performance by the surprise antagonist, OIC Hansraj Landa (Vivek Gomber). Opinions were divided on Bhatt’s performance, but Bala provided in-film logic to address the points raised in many reviews. Now that it’s available on OTT, perhaps global Netflix viewers will find something to appreciate in Jigra.

6 Kill – Nikhil Nagesh Bhat

Millions flock to cinemas for films like K.G.F, Animal, or Pushpa, but when Karan Johar delivers India’s most violent film, few are willing to take a chance. Perhaps Dharma loyalists didn’t expect this from him. Kill didn’t feature big names, yet by the end of this two-hour bloody action extravaganza, it might have delivered the finest action film in Indian cinema. With Korean action director Se Yeong Oh, director Nikhil Nagesh Bhat, and producer Karan Johar, co-producer Guneet Monga, the team was literally given a license to kill.

A simple story set on a bloody train ride, where revenge is served cold. The mobile setting added to the challenge, but Indian audiences witnessed spine-chilling action like never before. No stars, but fresh faces like Lakshya Lalwani, dancer Raghav Juyal, and even seasoned actor Ashish Vidyarthi unleashed the animal within.

Kill wasn’t just about action, though. It marked a coming-of-age moment for Raghav Juyal as an actor, while Lakshya announced his presence on the big stage with a competent performance. Kill isn’t for the faint-hearted—one needs a strong appetite for its bloody scenes, but those who witnessed it experienced something entirely new.

5 Srikanth – Tushar A Hiranandani

Biopics have been the bane of Bollywood, and Srikanth has its flaws too, but at least this is one biopic that doesn’t come across as hagiography. Credit goes to Srikanth Bolla, who bared it all in his biopic. This is the story of a blind man becoming one of the most successful global entrepreneurs. However, the Srikanth story is never about disability. In fact, the great man never sought sympathy. This isn’t about the lack of vision but about being a visionary. 

Srikanth’s success story is an inspiration for all, but what makes it more relatable is his willingness to reveal his vulnerable, even egoistic side. His frustration largely stemmed from the world constantly highlighting his lack of vision while praising his achievements. Director Tushar Hiranandani’s film urged viewers to look beyond disability and appreciate Bolla for his business acumen and humanity. A stellar performance by Rajkummar Rao played a crucial role in elevating the film.  While most businessmen value numbers, Srikanth’s success is best measured by his inspiring journey.

4 Murder Mubarak – Homi Adajania

Like Rautu Ka Raaz, director Homi Adajania’s Murder Mubarak was not your typical murder mystery. There’s nothing quaint here; this saga is set in a royal Delhi club, akin to the controversial Lutyens Club. In Rautu Ka Raaz, there was curiosity about the murderer’s identity. In Murder Mubarak, however, it quickly became evident that this dark comedy was more about savouring the pretentious characters on display. Lead artistes Pankaj Tripathi, Sara Ali Khan, and Vijay Raaz delivered fine performances, but the true joy lay in watching the myriad pretentious characters.

Yes, it had an Agatha Christie template, but where else would you find a Bhatti (Deven Bhojani), Roshni (Tisca Chopra), Kookie (Dimple Kapadia), and Rannvijay Singh (Sanjay Kapoor)? The dark comedy was elevated by its strong visual appeal, making it a delightful watch. The reviews were mixed, but the witty writing, pretentious characters, and Adajania’s signature sense of humour appealed to yours truly.

3 Merry Christmas – Sriram Raghavan

The first marquee Bollywood film of the year, this was supposed to mark the Bollywood debut of South superstar Vijay Sethupathi. But Jawan (2023) came first and disappointed. Sridhar Raghavan’s Merry Christmas didn’t do well commercially, but it earned respect among discerning audiences. Raghavan excels in dark comedies, always keeping a human element at the core. In Merry Christmas, that human element is the intriguing character Albert, who experiences a range of emotions on Christmas Eve.

The first 40-45 minutes of the film feel like a classic romantic drama, where two strangers bump into each other, yet their conversations make you feel as though they’ve known each other forever. You don’t want it to end, but this is a Sriram Raghavan film, and it thrives on chaos, with humour emerging from it. Despite a chequered past, it’s Vijay Sethupathi’s humility that makes you gravitate toward Albert. Katrina Kaif gave a rare impressive performance, with child artiste Pari Sharma also leaving her mark.

Far from perfect—Raghavan’s films rarely are—but they’re cherished for their gripping moments. The story ends on a somber note, but isn’t that life?

2 Tikdam – Vivek Anchalia

For a cinema that once thrived on telling family stories, Bollywood hardly produces such content now. The few that do emerge often reek of monotony. Writer Animesh Mishra and director Vivek Anchalia served as a reminder that, when done right, family is at the core of most Indians. This beautiful story, led by child artistes Aarohi Saud, Arisht Jain, and acclaimed actor Amit Sial, is perhaps the finest family drama in years.

It’s a simple tale where children are willing to move mountains to keep their father from leaving their small, picturesque hill station. Tikdam, however, is much more than just a family story. It cleverly weaves in pressing issues such as migration from small towns, and also bats for environment. The unheralded but talented cast did a commendable job, but it is the social messaging that truly pierces the heart.

It’s a shame that such a brilliant family film barely saw any promotion. One would struggle to find many reviews. Why was such a film not deemed good enough for theatres? Well, only the producers can explain. All those who saw the film were genuinely touched by this heartwarming story.

1 Chamkila – Imtiaz Ali

Honestly, we’ve often found Imtiaz Ali to be an overrated director. His complex rom-coms were initially appealing, but soon there was a sense of déjà vu in his subsequent films. If a director becomes a filmmaker solely to make his mother proud by travelling the world at others’ expense, it’s hardly passion. Truth be told, after repeated failures, Ali had fallen off the radar, making it inevitable for him to turn to OTT. He first ventured into the digital space with a YouTube production, but his big break came with Chamkila – a biopic about an unsung yet controversial local singer from Punjab in the 80s.

Ali roped in Punjabi superstar Diljit Dosanjh for the titular role, which was a masterstroke. However, the singer-actor wasn’t the voice of Chamkila in the film. Ali wisely used the original singer’s tracks, but for the new creation, he enlisted his favourite, Mohit Chauhan. Chamkila is perhaps the most authentic biopic Bollywood has seen. From his humble beginnings to becoming a sensation with his edgy songs, to the controversies and eventual death, Ali presented it all realistically, never going overboard with the drama.

What is even more shocking about the Dhanni Ram (Chamkila) story is how he became a slave to his own stardom. He was the people’s singer, but also at their mercy.

With a stellar performance by Dosanjh, a rare impressive act by Parineeti Chopra, A.R. Rahman’s music, and above all, Ali’s direction, Chamkila marked his redemption as a filmmaker. The Netflix film was a fitting tribute and a farewell to the late Punjabi icon—something he never got in death.  And this Imtiaz Ali film is our pick for the best Hindi film of the year.

Special Mention

Laapataa Ladies – Kiran Rao

From the time it released in March, this Kiran Rao directorial was a firm favourite to top this list. A brilliant satirical tale of two brides lost owing to their veils—one choosing the moment to run away from a forced marriage, the other not waking up from her sleep and landing at the wrong destination. Based on a story by Biplab Goswami, and with a highly engaging, entertaining screenplay by Sneha Desai, Kiran Rao introduced us to fine young talents in Pratibha Ranta and Nitanshi Goel, while the seasoned Ravi Kishan delivered the finest performance and character of his Bollywood career. It ticked most creative boxes, but a few days after its release, the film was mired in a plagiarism row, which is bizarre for an Aamir Khan Production. 

Veteran writer, filmmaker, and actor Anant Mahadevan alleged that this mix-up of veiled brides was an idea stolen from his little-known film Ghunghat Ke Pat Khol (1999). Mahadevan went public with his grievance but didn’t file any legal complaint, fearing that Aamir Khan was far too powerful. 

The copyright laws state that there is no copyright over an idea or a logline, but it’s the expression of the idea that is protected under the law. With Mahadevan not filing a legal complaint, the matter ended there, but his grievance stemmed more from the fact that his film was removed from YouTube before Laapataa Ladies was released, as claimed by Mahadevan.

Ideas can clash, but can it be a mere coincidence that two people thought of the same unique idea? Mahadevan’s film was released in 1999, while Biplab claimed his idea was registered ten years ago. However, the unique plot of mixed-up brides was perhaps first penned in Noukadubi, a short story by the late Nobel Laureate Rabindranath Tagore.

Months later, Kiran Rao’s film courted more controversy when it was a surprise pick by the Film Federation of India as India’s official entry to the Oscars. Many felt that Payal Kapadia’s All We Imagine as Light was perhaps a better choice. Khan suffered a blow when neither the Golden Globes nor the Academy of Motion Picture Arts and Sciences shortlisted Laapataa Ladies for Best Foreign Film. The FFI jury faced criticism, but Aamir Khan came under more scrutiny when veteran actor and filmmaker Amol Palekar, who was FFI jury head in 2015, alleged that a superstar had pressured the jury to pick his film. However, they resisted and instead picked the Marathi film Court. Though Palekar didn’t name the star, it is widely speculated to be Aamir Khan, who had given the controversial hit film pk (2014) in that period.

As of today, Aamir Khan’s credibility and integrity are being seriously questioned. While Laapataa Ladies is a brilliant film on all fronts, given the controversies surrounding it, we felt it wouldn’t be morally appropriate to consider it for the Best Hindi Film of the Year. At best, it deserves a special mention. 



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