In an audio-visual art form like cinema, it becomes easy to rely on action and flamboyance to capture the audience’s attention. Plot twist after plot twist can keep the audience asking questions throughout, while fast-paced action choreography keeps the audience visually stimulated, trying to keep up with everything happening on screen. Especially in India, more and more mainstream films rely on music, action, and masala to embellish an otherwise lacklustre script.
However, a handful of Indian filmmakers have grasped the art of slowing down, crafting films driven by narrative and character development rather than relying solely on theatrics. These films refuse to participate in the rat race of commercial Indian cinema, instead allowing their audiences to truly connect with the story, feel the emotions, and take a moment to appreciate the cinematic experience.
The Lunchbox
Directed by Ritesh Batra, Screenplay by Ritesh Batra & Rutvik Oza
The Lunchbox is a story about the intersection between the lives of two strangers in Mumbai. Ila, a housewife looking to bring romance back into her marriage, starts making home-cooked meals for her husband. However, through an error in the otherwise flawless dabbawalas system, these lunches find their way to Saajan, a middle-aged widower about to retire from his job. Thus begins their unlikely friendship, as a series of notes passed through lunch boxes teaches them both, as well as the audience, more about the other’s life. The film is a peek into the small ways people in the city find moments of connection and humanity in what often becomes a robotic lifestyle.
Piku
Directed by Shoojit Sircar, Screenplay by Juhi Chaturvedi
The film follows Piku, a 30-year-old architect, as she cares for her 70-year-old hypochondriac father, Bhaskor. Although Piku loves him, she often finds herself frustrated with his eccentric antics. When their family’s home in Kolkata is on the verge of being sold, Bhasok wants to go back to stop the deal himself. For his convenience, they decide to travel by road, as taxi company owner Rana takes on the task of driving them there. The journey they go on — literal as well as figurative — brings them all closer, as they become more understanding of one another’s quirks. The film looks at how we can all learn to let go a little and make room for the people we love, even if we don’t always agree with them.
Masaan
Directed by Neeraj Ghaywan, Screenplay by Varun Grover
Set in Varanasi, Masaan follows the lives of two young people: Devi, a trainer at a computer coaching centre — ashamed and stuck in a precarious conflict with the police, and Deepak, the youngest of a Dom family and an engineering student, in love with a higher caste Hindu girl, Shalu. Focusing on themes of pain, grief, and salvation, the film follows how the two characters cope with their suffering and how they try to eventually rise above it.
October
Directed by Shoojit Sircar, Screenplay by Juhi Chaturvedi
Dan and Shiuli are interns at the same hotel, where Shiuli works diligently and Dan seems to struggle. An unfortunate accident leaves Shiuli in the hospital, while leaving Dan confused and grief-stricken as he learns that her last words before the accident were asking for him. October follows Dan’s journey as he grows more and more attached to Shiuli, and how this attachment affects his job and personal life. The film focuses on themes of love, acknowledgement, and empathy, as Dan spends time with his thoughts and his affection for Shiuli, leading to his own personal growth.
‘96
Directed by C. Prem Kumar, Screenplay by Charu Gupta & C. Prem Kumar
‘96 follows Ram and Janaki, or Jaanu, over one notable yet peaceful night. Reunited years after the end of their school-time romance, Ram and Jaanu find it awkward to interact with one another again. However, as time passes, the two find themselves at ease with each other, as they reminisce about their time together, also clarifying an old misunderstanding. Through the night, the audience watches as the two former lovers learn about each other, and in turn, about love, both left behind and held on to.
Kumbalangi Nights
Directed by Madhu C. Narayanan, Screenplay by Syam Pushkaran
The film follows four brothers, Saji, Bonny, Bobby, and Franky. Having lost their father and abandoned by their mother, the four boys must learn to live together despite their differences and conflicting personalities. Through a series of personal conflicts in each of the brothers’ lives, the film explores the themes of love, brotherhood, and acceptance, as the four learn to love each other.
Meiyazhagan
Directed & Screenplay by C. Prem Kumar
Meiyazhagan follows Arulmozhi, or Arul, as he returns to his hometown 22 years after having to leave against his wishes. Unable to decline an invitation from his cousin, Arul plans to attend her reception and leave before her wedding. However, the appearance of an unknown relative makes Arul’s planning futile. The film focuses on themes of family, nostalgia, and memories, as Arul rediscovers life in his hometown through his relative’s eyes, all while trying to figure out who this seemingly unknown relative is.
Words Ayushie Shahne
26.05.2025