In a sea of testosterone-fuelled, hyper-nationalistic spy films, ‘Happy Patel: Khatarnak Jasoos’ feels like a breath of fresh air. It’s an unapologetic film that commits to its silliness.
About The Author
Sakshi is a sub-editor at the Outlook Entertainment Desk. She’s also a documentary filmmaker and mixed-media artist based in Mumbai.
The crime genre operates as a guilty pleasure but also as a cultural symptom, revealing the conditions that make such stories feel necessary and persistently resonant.
Tracing a passage from turbulent waters to prose and literature, Stewart’s film embraces Yuknavitch’s self-determined creation.
In an era wary of earnestness, Song Sung Blue (2025) commits to it fully. The result is a film of humour, ache and conviction, one that believes in ordinary people and trusts the audience to do the same.
Across decades, films return to the newsroom to interrogate journalism’s promise and limitations, oscillating between satire, spectacle and documentary realism.
At 65, Supriya Pathak Kapur reflects on a life shaped by artistic curiosity and quiet resilience.
The Housemaid (2025) offers a guilty pleasure with its unhinged narrative turns—delivering a sense of mischievous satisfaction that is hard to resist.
Overall, ‘Ikkis’ proves to be a fantastic palate cleanser to the nationalistic drama genre, balancing the appetite for action with the very real human costs of war.
Outlook's Picks 2025: Five Indian films that mattered more than box office—from Lokah's superhero revolution to Bad Girl's honest coming-of-age. Discover the year's most powerful, provocative, and heartfelt cinema.
Wright delivers a film that functions efficiently as studio entertainment, while sidestepping the discomfort that once made King’s story sting. For a story about running for one’s life, it rarely feels like it’s risking anything at all.
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