After the 2020 halt, 2021 was a good year for Indian cinema. Both scenes, mainstream and independent, came up with interesting titles. Same in terms of experience, not only established filmmakers but also debutants provided interesting titles. South Indian cinema, especially Keralan and Tamil, stays strong, and thanks to streaming platforms reach the pan-Indian audience. Below you have our 15 favorites of 2021 in no particular order.
1. Sardar Udham (Shoojit Sircar, Hindi)
So-called patriotic movies have become a popular trend in the recent Hindi mainstream, but mostly they turn caricature and appeal to certain political sentiments. “Sardar Udham” is the rare exception, free from jingoism, grotesque and sketchy characters, and pompous preachy monologues. This well-crafted period drama, one of the best of the last few years, switches timelines and countries and offers impressive production design and costumes. It recalls the story of Udham Singh, a Punjabi freedom fighter, who assassinated Michael O'Dwyer, the former lieutenant governor of Punjab, responsible for the 1919 Jallianwala Bagh massacre in Amritsar. “Sardar Udham” doesn't show crystal clear heroes and monstrous enemies, not lessening the weight of historical events it refers to. Vicky Kaushal in the title role shows the terrific portrayal of an ordinary man confronted with trauma. Freedom fight is not romanticized and the ultimate price the protagonist pay shows the bitter taste of victory. (Joanna Konczak)
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2. Minnal Murali (Basil Joseph, Malayalam)
Finally India got its own superhero in tights. This Malayalam feature is both entertaining and charming. It tells the story of the tailor Jaison, who dreams of leaving his small Keralan village and moving to the US for better life opportunities, but gets stricken with a lightning instead, which gives him some powers. The strength of “Minnal Murali” comes from not copying Hollywood blockbusters. The film keeps the local vibe and explores the everyday life of a small rural community in a usual Malayalam cinema style. There are no galaxy threatening baddies, monsters or fancy gadgets, and the protagonist deals with down to Earth (what doesn't mean insignificant) problems. Plus, as they say, the superhero is only as good as his villain, and here antagonist definitely doesn't disappoint. (Joanna Konczak)
3. Santhoshathinte Onnam Rahasyam (Don Palathara, Malayalam)
It is as far from stereotypical notions about how Indian romantic movies look like as possible. This mumblecore Malayalam movie focuses on a young couple, Jitin and Maria. He is an aspiring theatre actor, she works as a journalist. 85-mins flick was made with one single take and fixed camera shows only the interior of the couple's car. Jitin and Maria are on their way to the clinic for an examination to check if she is pregnant. They haven't planned a child at this stage, so it's the opportunity to discuss relationship expectations, some mutual resentments, and life in general in half-improvised dialogues. Rima Kallingal and Jitin Puthenchery, natural and fresh, nail it with their convincing performances. (Joanna Konczak)
4. Sherni (Amit Masurkar, Hindi)
This environmental drama takes us into the vastness of Madhya Pradesh jungle. Vidya Balan shines in the keyed and glamourless role of a forest official, who deals with a problem of a tigress troubling local villagers. Don't expect a story about a great hunt or a mystic human-animal bond. This slow-paced, naturalist movie deals with burning current issues like displacement of natural habitats of endangered species, extensive exploitation of resources, but also is a study of struggles of a female government worker, everyday sexism, and corrupted bureaucracy. (Joanna Konczak)
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5. Karnan (Mari Selvaraj, Tamil)
Mari Selvaraj with “Pariyerum Perumal” proved himself as a director capable of telling unique stories about Dalit matters in the Tamil mainstream. In action-packed “Karnan” he continues to be this important voice, smartly crafting poignant social issue into the fabrics of masala entertainer. His movie shows a Dalit protagonist who is not a defenseless victim, but someone ready for everything to stand for his self-respect. He fights with courage and dignity, showing great charisma, which guides him to become a community leader. Dhanush perfectly captures the youthful rage, becoming an angry young man needed in modern times. (Joanna Konczak)
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6. The Great Indian Kitchen (Jeo Baby, Malayalam)
The title of this drama is very ironic. Combined with visuals presenting meticulously prepared meals, it could suggest a feel-good movie about a married couple bonding over food. But it is the most bitter portrayal of a traditional Indian marriage I've seen in ages. With striking naturalism, it depicts the day-to-day reality of a girl, once a dedicated dance student, who enters her new household. Her husband and father-in-law follow a strict patriarchal order. She is never referred by her name and does endless chores, being treated as a servant. “The Great Indian Kitchen” avoids loud accusations, but its observant style is no less powerful. This poignant tale of emancipation and resilience against strict social norms bites harder on the realization that the horror it shows is a reality of so many women around the world. (Joanna Konczak)
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7. Sarpatta Parambarai (Pa. Ranjith, Tamil)
Ranjith once again proved that he mastered intelligent entertainers. “Sarpatta Parambarai” is a pure cinematic pleasure, combing a period piece (taking you down the memory lane to the 70s), sports drama, and a dose of social issues such as gender, politics or caste. This engaging story of a disgraced boxer is set against a vibrant backdrop of old-time rivalry between two boxing clans of Sarpattas and Idiyappas in North Madras. The setting offers so much, that it's easy to forgive it formulaic restrictions. (Joanna Konczak)
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8. The Disciple (Chaitanya Tamhane, Marathi)
The long-awaited second movie of Venice-awarded director is a gem. Immersed in a world of Indian classical music and its guru-shishya tradition, the film shows an artists' pursue of perfection. The melancholic, contemplative and subtle narrative follows the footsteps of Sharad, whose life is dedicated to his musical passion. His path is rough and unrewarding, but he tries to stay faithful to his ideals. Astute psychological portrayal painted through intertwining timeframes requires focus and attention, but the experience is highly rewarding. (Joanna Konczak)
9. Once Upon a Time in Calcutta (Aditya Vikram Sengupta, Bengali)
The aforementioned house with the circular theatre stage on the ground floor is a real venue, and so are most of the other filming locations. Sengupta was very particular about the authenticity of places and destinies of people: he invested over a decade in researching the events surrounding some of the country's biggest scam scandals and corruption (particularly related to the city planning), interested in showing a broad spectrum of human destinies in different corners of Kolkata. (Marina Richter)
10. Pedro (Natesh Hegde, Kannada)
The director drew from his experiences and observations. Using minimalistic means of expression, he shot in village surroundings with a cast mostly combined of locals, with his father, who also isn't a professional actor, in a lead role, boosting the story with authenticity. The slow pace allows us to focus on characters and their struggles. Although the director doesn't directly show violence, it is a violent movie. Tensions lurk beneath the surface, and you know it is only a matter of time before a spark will ignite a flame. The remote forest village is not a bucolic, idyllic dreamscape. But not a house of horrors either. It seems painfully real, with people burdened with ordinary day-to-day problems. It is a world of no perspectives, where men can only drink and make jokes at each other's manhood. They don't know any different ways. (Joanna Konczak)
11. Dostojee (Prasun Chatterjee, Bengali)
This context bears importance for the story, not being its backbone. “Dostojee” doesn't picture dark, turbulent times or documents what was happening in the cyclone's eye. The film focuses on a small community, living far away fromthe events shaking the country. But the waves are reaching even here, and tension arises. Palash is Hindu, son of a priest, and Safikul – Muslim from a family of weavers. They live in neighboring houses, sharing a courtyard and a tutor, who helps them with school material. Religion has no importance for the boys, who used to celebrate each other's festivities, and the gruesome occurrences devastating the nation don't affect their mutual attachment. Their innocence contrasts with the adult world of conflicts (Joanna Konczak)
12. Pebbles (P.S. Vinothraj, Tamil)
Embedded in a breathtaking landscape, which definitely takes on a third leading role in the film, “Pebbles” brings the viewer closer to two extraordinary characters. The father is loud and boisterous, while the son is calm. The dialogues are reduced to a minimum, everything is shown in the facial expressions of the actors. While the father's actor, Karuththadalyaan, is a professional actor from the theatre, the director has cast the boy, as well as all the other supporting figures, with amateurs. The boy has a very expressive face and it is not surprising when the director explains that he comes from very poor circumstances, which even surpass those shown in the film. (Teresa Vena)
13. Fire in the Mountains (Ajitpal Singh, Hindi)
It sounds very polarizing, but Singh is far from showing contrasting black-and-white dichotomies. Dharam is not a villain, more a product of years of patriarchal order. Some scenes show intimacy and attachment between him and Chandra. Also a teenage daughter, Kanchan (Harshita Tewari), once confesses to her father: “You are so sweet when you are sober”.(Joanna Konczak)
14. Joji (Dileesh Pothan, Malayalam)
The first thing one will notice in the film is Shyju Khalid's immersive cinematography, which highlights the estate in a way that both presents its beauty and gives it an allegorical, contextual meaning, particularly in the way Dileesh Pothan implements the deep holes in the area. The scene with the fire is especially impressive to watch and one of the most memorable in the movie. Furthermore, his framing depicts the relations of the family members in the best way, with their placement in every frame being rather meaningful, a trait that should also be attributed to Pothan's direction of his cast. Lastly, the use of shadow is also on a rather high level, giving an ominous sense to a number of scenes, also adding to the overall atmosphere of ritualistic horror that occasionally dominates the narrative. (Panos Kotzathanasis)
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15. Writing With Fire (Rintu Thomas, Sushmit Ghosh, Hindi)
“Writing with Fire” is a truly great documentary that manages to present and analyze these women and their remarkable work, as much as India as a state, in a combination whose equal technical prowess results in a film that is also easy to watch despite the heaviness of its main themes. (Panos Kotzathanasis)
