Mira Nair’s “Queen of Katwe”

(#22 of 365) Mira Nair’s “Queen of Katwe” is a regular underdog story who beat the odds of poverty to chase the impossible. Whenever a hero emerges, it is not just the hero, the family contributes, the mentor contributes, the opportunities contribute and most importantly, the communities contribute. The movie sends a message to set up such communities which make it a possiblity for such heroes to emerge.

Alberto Rodríguez’s “El hombre de las mil Caras”

(#21 of 365) Alberto Rodríguez’s “Smoke and Mirrors” is non-exaggerating, a non-dramatizing story about a con man who genuinely describes the story of a man who fooled the entire country. Supported by the performances of the lead cast, the movie holds onto its position as a drama that was wrongly promoted as a crime thriller.

Gollapudi Maruti Rao “Saayankalamaindi” (It’s Evening Time)

(#2 of 50) Gollapudi Maruti Rao’s “Saayankalamaindi” resurrects the nostalgia about the rural societies and makes a strong social commentary about the transformation that intimately tangled many social relations. It is a brilliant novel that needs much more self-analysis and deep dive into questioning our beliefs and practices narrated through the lives of excellent characters.

Ram Gopal Varma’s “Vangaveeti”

(#19 of 365) Ram Gopal Varma’s biographical movie “Vangaveeti” about ex-gangster Vangaveeti Radha and his politician brother Ranga communicates the story effectively on screen. With limited camera movements and excessive blood flow, Ramu pays tribute to the rowdyism on the streets of Vijayawada in the presence of Goddess Durga.

Gokul’s “Kaashmora”

(#18 of 365) Gokul’s “Kaashmora” never takes off either as a fantasy or as a horror or as whatever genre he wanted it to be marked as. Santhosh Narayanan’s music, antics of Kaashmora’s family and ever charming Nayanthara are the only saving grace in this 164 minutes long movie.