Sharthopor
A poignant drama that explores the emotional and moral tensions between siblings, Sharthopor was met with a strong positive response from both critics and audiences. It tells the story of relationships fractured by rigid expectations and contested claims of kinship. When the sister refuses to relinquish her share of the ancestral home, her brother escalates the conflict by taking her to court, turning a private dispute into a painful public battle. Critics widely praised Koel Mallick’s mature and nuanced performance as Aparna, calling it one of her finest in recent years, and also highlighted strong performances from Koushik Sen, Ranjit Mallick, and Anirban Chakrabarti. Annapurna Basu’s debut direction was commended for its nuanced handling of emotional themes and authentic portrayal of family dynamics.
Dear Maa
Dear Maa unfolds as a restrained, introspective drama that examines motherhood through absence rather than assurance. Directed by Aniruddha Roy Chowdhury, the film centres on Brinda Mitra (Jaya Ahsan), a composed scientist whose sense of control unravels when her adopted daughter disappears, forcing her to confront questions she has long avoided. The story moves fluidly between the present and fragments of the past, tracing emotional fault lines between adoption, biology, care and emotional entitlement. Jaya Ahsan delivers a performance marked by precision and vulnerability, supported by quietly effective turns from Chandan Roy Sanyal, Saswata Chatterjee and Anubha Fatehpuria. Visually muted, emotionally deliberate, and underscored by a score that favours restraint over emphasis, Dear Maa avoids dramatic excess. Instead, it leaves space for discomfort and ambiguity, making it a thoughtful reflection on what parenting demands — not certainty, but courage.
Dhumketu
Dhumketu, directed by Kaushik Ganguly, is a sweeping, emotionally charged film that blends love, loss and moral reckoning with the scale of a mainstream spectacle. Dev anchors the narrative as Bhanu, a man returning to his hometown after years of presumed death, his life shaped by violence, grief and unresolved longing. Through tender flashbacks, we witness his romance with Rupa (Subhashree Ganguly), in sharp contrast to his present, driven by vengeance. Rudranil Ghosh brings quiet intensity as Bhanu’s closest companion, while the supporting cast deepens the emotional landscape.
Aamar Boss
Set amidst the bustling offices of Calcutta’s Sector V, Aamar Boss, directed by Nandita Roy and Shiboprosad Mukherjee, weaves a heartfelt story of family, empathy, and workplace transformation. Rakhee makes a poignant return as Subhra Goswami, whose presence reshapes her son Animesh’s high-pressure publishing office, played by Shiboprosad himself, while Srabanti Chatterjee stars as his wife Mousumi. The film charts how Subhra nurtures anxious employees, fosters human connection, and bridges the gap between professional demands and personal care.
Projapati 2
The film revolves around Joy (Dev), a devoted single father living in London with his daughter, juggling the challenges of raising her while balancing professional and personal responsibilities. The relationship between Dev and Mithun Chakraborty — portraying son and father — evokes nostalgia and emotional depth. Their on-screen dynamic carries warmth, affection, and moments of conflict that feel genuine and relatable. The film portrays the subtle emotional push-and-pull between two generations, especially against the backdrop of modern life abroad versus traditional roots at home.
Shotyi Bole Shotyi Kichhu Nei
Rarely does a Bengali film make conversation its primary weapon, but Shotyi Bole Shotyi Kichhu Nei does so with gripping confidence. Directed by Srijit Mukherji, this psychological drama places 12 jurors inside an ethical impasse where truth, bias and justice collide. As a young man’s fate hangs in the balance, a lone voice of dissent, played with restraint by Parambrata Chattopadhyay, begins to unsettle an almost unanimous verdict. What makes the film work is its refusal to sermonise — instead allowing sharp writing, layered performances and mounting tension to expose how easily certainty crumbles under scrutiny, making it one of the year’s most intellectually arresting Bengali films.
The Eken: Benaras e Bibhishika
Directed by Joydeep Mukherjee, the film brings Hoichoi’s beloved detective back to the big screen in a thrilling new adventure. The film follows Ekendra Sen, aka Eken Babu (Anirban Chakrabarti), who is drawn to Benaras by a friend’s family mystery that spirals into a sinister plot. With his loyal companions Pramatha and Bapi, Eken navigates a maze of suspicion, deceit, and danger, facing off against the menacing Belal Malik (Saswata Chatterjee) in a standout performance. The film blends sharp detective work with light humour, vibrant visuals of Benaras, and a briskly paced narrative, making it an engaging mix of suspense and entertainment.
Joto Kando Kolkatatei
Calcutta turns into a living, breathing riddle in Joto Kando Kolkatatei, Anik Dutta’s affectionate reinvention of the classic Bengali detective genre. Drawing inspiration from Satyajit Ray’s sleuthing universe without imitation, the film follows Saba (Quazi Nawshaba Ahmed), a young woman from Dhaka tracing her mother’s forgotten past, guided by Abir Chatterjee’s quietly assured Toposmitro. Moving through crumbling mansions, churches, lanes and hill towns, the film treats the city as its most compelling character — layered, secretive and steeped in memory.
Puratawn
Starring Sharmila Tagore, Rituparna Sengupta and Indraneil Sengupta, Puratawn, directed by Suman Ghosh, follows an 80-year-old woman battling dementia. The film delves into her fragmented memories, and the interplay between the past and present is intricately woven into the relationships depicted throughout the film — the dynamics between mother and daughter, mother-in-law and son-in-law, and husband and wife. A mysterious box adds an element of suspense, symbolising the quest for the past and the desire for reconciliation. Exploring the distinct perspectives of the mother and daughter, the film also highlights the idea of nostalgia and the inevitable path of moving forward to embrace the present.
Ranna Baati
Directed by Pratim D. Gupta, the film is a heartwarming father-daughter tale seasoned with humour, heartbreak, and hope, like a perfect Sunday lunch that fills the soul. Ritwick Chakraborty plays a widowed father struggling to connect with his teenage daughter, Mohor (Ida Dasgupta), who resents his emotional distance. A friend’s suggestion sparks a delicious plan: recreate his late wife, Supriya’s (Solanki Roy), favourite dishes to win Mohor’s heart. What begins as a culinary attempt slowly becomes a journey of self-discovery. The kitchen transforms into therapy, where chopping, stirring, and tasting become acts of healing and love.
Putul Nacher Itikotha
Set against the evocative backdrop of a Bengali village, Putul Nacher Itikotha sees Suman Mukhopadhyay bring Manik Bandopadhyay’s novel to life with sensitivity and nuance. The story follows Sashi (Abir Chatterjee), a young doctor whose modern education collides with the rigid traditions and unspoken tensions of his community. Jaya Ahsan excels as Kusum, a woman grappling with isolation and quiet longing, while Parambrata Chattopadhyay adds depth as Sashi’s former classmate turned jatra performer. The film’s strengths lie in its intimate portrayal of human frailty, moral dilemmas, and suppressed desires, all set within meticulously crafted rural landscapes.
Deep Fridge
Deep Fridge unwraps the frozen corridors of the heart with quiet intensity. Directed by Arjunn Dutta, the National Award-winning Bengali film traces the journey of divorced couple Swarnavo (Abir Chatterjee) and Mili (Tnusree C) as they navigate new relationships while co-parenting their son. From the warmth of their early love to the chill of separation, the film captures the subtle complexities of modern romance, jealousy, and unresolved emotions. Tnusree delivers a layered performance, balancing vulnerability and restraint, while Abir brings moral nuance and depth to Swarnavo.
Mayanagar — Once Upon a Time in Calcutta
Directed by Aditya Vikram Sengupta, the film is a hauntingly atmospheric portrait of a city caught between memory and modernity. The film follows Ela (Sreelekha Mitra), a struggling actress navigating personal grief and fractured relationships, including with her estranged husband Shishir (Satrajit Sarkar) and step-brother Bubu (Bratya Basu), while pursuing small dreams amidst a crumbling metropolis. Sengupta’s narrative weaves intimate human stories with the city’s decaying streets, puddle-strewn alleys, and echoes of Tagore, creating a tapestry of loss, longing, and fleeting hope. With Mitra’s quietly resilient performance at its heart, Mayanagar captures the melancholic beauty of Calcutta, blending personal sorrow with collective nostalgia in a cinematic experience that lingers long after the credits roll.
Raktabeej 2
Directed by Nandita Roy and Shiboprosad Mukherjee, the sequel scales up its politics, geography and moral urgency. What begins as an investigation into illegal citizenship and arms trafficking soon spirals into a tense cross-border chase, pulling officers Pankaj Singha (Abir Chatterjee) and Sanjukta (Mimi Chakraborty) into a web of deception that stretches from India to Bangladesh.
Devi Chowdhurani
Devi Chowdhurani arrived as a daring recalibration of Bankim Chandra Chatterjee’s 19th-century heroine, turning literary legend into cinematic life. Subhrajit Mitra brought the narrative to screen with visual grandeur and ambitious storytelling, while Prosenjit Chatterjee provided a steady, commanding presence as Bhavani Pathak, and Srabanti Chatterjee shone as Prafulla, blending vulnerability with volcanic intensity. The film traced rebellion, gender, and power against the historical backdrop of the Sanyasi–Fakir uprisings, giving cinematic form to an underrepresented episode of collective resistance.
Raghu Dakat
Raghu Dakat stormed onto the screen as a blazing ode to rebellion and courage. Directed by Dhrubo Banerjee, the film transformed the legend of a historical Bengali outlaw into a vibrant tapestry of action, emotion, and visual splendour. Dev commanded the titular role with magnetic intensity, embodying a rebel who rose against tyranny and corruption.
Killbill Society
Killbill Society was a daring, darkly comic continuation of the world first explored in Hemlock Society, blending psychological intensity with quirky humour and unexpected narrative twists.
Ei Raat Tomar Amar
Parambrata Chattopadhyay chose to tell a deeply personal story about love, regret, and unresolved feelings within the span of a single night. The minimal setting and restrained narrative allowed viewers to focus on the characters’ inner lives rather than plot mechanics, making the emotions feel raw and authentic. Many people connected with the film’s portrayal of relationships that exist in the grey areas — where love is real, but timing, choices, and circumstance complicate everything. The performances, especially the naturalistic chemistry between Anjan Dutt and Aparna Sen, added to this impact. Conversations felt lived-in, echoing experiences audiences recognised from their own lives.
Binodini — Ekti Natir Upakhyan
History finds a voice in Binodini — Ekti Natir Upakhyan, a lush period drama that restores dignity to one of Bengal’s most forgotten trailblazers. Directed by Ram Kamal Mukherjee, the film traces the extraordinary life of Binodini Dasi, the 19th-century theatre icon who shaped modern Bengali theatre yet was denied social acceptance. Rukmini Maitra delivers a deeply felt performance as Binodini — charting her meteoric rise, artistic defiance and quiet heartbreak with grace and fire. Kaushik Ganguly is equally compelling as Girish Chandra Ghosh, her mentor and collaborator. The film works because it resists turning its protagonist into mere folklore; instead, it foregrounds her agency, ambition and rage within a rigid, patriarchal society.
Lawho Gouranger Naam Rey
Unfolding across three distinct yet interconnected timelines, Lawho Gouranger Naam Rey sees Srijit Mukherji crafting a cinematic meditation on faith, art, and history. The 19th-century world of Nati Binodini comes alive through Subhashree Ganguly, whose portrayal captures the formidable presence and moral conviction of the legendary actress. Ishaa Saha anchors the contemporary strand as a filmmaker navigating the elusive story of Chaitanya Mahaprabhu, while Dibyojyoti Dutta embodies the 15th-century saint in sequences that are atmospheric and meditative rather than explanatory. The film’s strengths lie in its exploration of performance, belief, and historical memory, with Mukherji’s direction weaving these threads into a reflective, layered narrative.
Mitin: Ekti Khunir Sandhaney
Koel Mallick returned as Mitin in Mitin: Ekti Khunir Sandhaney, stepping into a murder mystery for the first time in the franchise. Directed by Arindam Sil, the film offered a gripping mix of suspense, humour, and layered character moments. Koel’s Mitin was sharper and more compassionate than ever, navigating a case filled with suspects while balancing wit and humanity. The story wove together intense drama, relationships, and classical music.
Grihapravesh
Indraadip Dasgupta’s Grihapravesh is a quietly assured domestic drama that lingers long after the credits roll. Set inside a crumbling ancestral home during the Durga Puja season, the film follows Titli (Subhashree Ganguly), a young woman abandoned soon after marriage, who becomes the emotional anchor of her in-laws’ fractured household. As she opens a homestay, the arrival of a guest (Jeetu Kamal) unsettles the stillness, while the absent husband’s truth unfolds with restraint and compassion. Anchored by nuanced performances from Kaushik Ganguly, Sohini Sengupta and Rudranil Ghosh, the film resists melodrama in favour of silences, glances and everyday rituals. What makes Grihapravesh work is its emotional honesty — a rare Bengali drama that weaves queerness, longing and middle-class morality into a textured, deeply humane narrative.
Mrigaya
From the opening frame to the final credits, Mrigaya, directed by Abhirup Ghosh, is a no-holds-barred rollercoaster. For anyone who grew up on massy Bengali action films, this one lands with a solid thud — and swagger. Mrigaya goes beyond the usual cop-versus-villain template, diving deep into the gritty aftermath of a brutal murder and robbery in Calcutta’s red-light district. Shadowy alleys, cramped rooms, worn uniforms and an intense manhunt are portrayed with striking realism, right down to the sound and fury of gunfire. What truly sets the film apart is how it blends authenticity with style; the cops feel real, but never dull.
The Academy of Fine Arts
The Academy of Fine Arts fuses action, crime, and comedy into a slick, unpredictable ride. A riotous portrait of flawed men chasing fortune and redemption, the film paints its world with pulp energy. It follows a gang of small-time crooks who dare to outsmart a feared underworld boss by stealing his most treasured possession. Their plan unfolds flawlessly until everything that can go wrong does. One wrong turn sets off a chain reaction of deceit, violence, and long-hidden truths that refuse to stay buried.
Raas
Raas is an experience that quietly stays with you. The film lovingly celebrates togetherness, rituals and the small, soulful joys of family life. Steeped in Bengali aesthetics, Raas follows Somnath (Vikram Chatterjee) as he escapes the concrete jungle for Manikpur, rediscovering freedom, affection and belonging. His tender bond with his Didima (Anasuya) forms the emotional core, guiding his journey towards restoring harmony within and beyond the family. Raas makes you long for shared meals, open hearts and the comforting chaos of a joint family.
Goodbye Mountain
Goodbye Mountain, directed by Indrasis Acharya, takes us on a journey through the stunning hills of Wayanad in Kerala. The film poetically explores themes of euphoric love and fleeting romance. At the heart of the story, Rituparna Sengupta and Indraneil Sengupta play former lovers who reunite for a 22-day rendezvous in the hills, igniting their old flame once more. They choose to savour each moment together, free from the burdens of their present realities, yet the shadows of their past and the demands of their lives start to intrude on their momentary bliss. As the characters navigate the delicate balance between desire and responsibility, they find their momentary joy punctuated by the stark truths of their individual circumstances.
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Arindam Chatterjee, Sanjali Brahma, Rohini Chakraborty and Priyanka A. Roy