When you think of Westerns you think of tumbleweeds rolling away across the sands, “wanted” posters displaying hardened faces and with large bounties, and swinging saloon doors where patrons watch with bated breath as gunslingers face off in a quick draw match.  

Now think of all that set in space.  

Spaces Westerns are a very interesting genre, blending sci-fi tech with the gritty Wild West. And when it comes to anime-manga, Trigun is the quintessential Space Western.  

Trigun follows Vash the Stampede as he journeys across the barren, scorching planet known as No Man’s Land. Vash’s reputation precedes him:, known as the Humanoid Typhon, he has a staggering $$60 billion double dollar (Trigun’s currency) bounty on his head. Although in Vash’s defence, he didn’t mean to level a city, it was an honest accident.  

Vash isn’t your stereotypical Western protagonist.  

He’s an incredibly skilled gunman who loathes violence and preaches pacifism. In fact, it’s often his pacifism which has violent consequences and terrible collateral. Vash sees the good through the bad and the ugly, choosing to save the inhabitants of his world, cruel and harsh though they may be. He wants to spare everyone, even his enemies. This is in stark contrast to his twin brother Knives, who is his opposite in every way.  

There are three iterations of Trigun: the manga which ran from 1997 to 2007, the 1998 anime adaptation and the 2023 anime adaptation, Trigun Stampede, followed now by its direct sequel in 2026, Trigun Stargaze. Every version of Trigun is inherently different except for the basic plot outline and its characters, especially Vash whose ideals and motivations remain constant.  

The original Trigun anime aired in tandem with the ongoing manga, which meant that the plot had to diverge from the source to fit the airing season. Up to a certain point, the anime and the manga remain the same, but once the anime caught up to the manga, there was a significant departure in story beats. It was also much lighter in tone than the manga’s darker storyline due to the restrictions on what could be aired at the time. Westerns are gritty, harsh, violent and bloody. Space Westerns like the Trigun manga are the same, so the anime had to censor a lot of what was happening in the manga. There was also a lot of self-contained filler material inserted to pad up the story which made it feel more like a slow burn. The animation was clunky at times due to the technological constraints, but there’s something charming and oddly fitting about having a rough style for a story like Trigun. However, visually the original anime follows the manga’s character designs to the letter.  

Trigun Stampede and Stargaze is essentially a reimagining of the manga’s events. The characters are aged down for one. At their core they are the same, but the journey to get there is different. Compared to the 1998 anime, Stampede and Stargaze follow the plot more faithfully, even though the timeline has been altered. It is darker, more befitting of the manga, and doesn’t shy from blood, gore or violence. For one, Vash is more naïve, handling things differently than he does in the manga because he’s still growing as a character. The new anime also raises the stakes by revealing the major players of the story in advance to better encapsulate the manga’s mammoth of a plot. It also has a lot of scenes adapted directly from the manga and cuts off the frills that the anime added in 1998 . Both Stampede and Stargaze do a good job of characterising Vash’s struggle with guilt and loneliness than the original anime did. The trajectory of the story is bittersweet, much like the manga.  

The biggest departure from the manga and the original anime is the aesthetic and visuals.  

Stargaze, like its predecessor Stampede, employs the use of CGI as opposed to the more traditional art style of the manga. Studio Orange, responsible for animating the show, uses a technique called limited frame animation wherein the framerate is lower than the standard framerate for 3D animation, saving time and money. An anime like Trigun is action-heavy with a lot of angular perspectives, intense fight scenes and intricate weaponry. The CGI allows certain character designs as well as attacks to be rendered more fluidly.  

The range of emotions that play out on the characters’ faces is also given a bigger focus. From dead-eyed vacant stares to wide-eyed bewilderment, the minute shifts in temperament make them feel all the more expressive. The choreography in the action scenes stand out. The CGI lends itself much better to fluid movements and highly stylized cinematography, letting the new anime really push the boundaries of aesthetics.  

No version of Trigun is going to be the same. The 1998 anime proved that you can honor the source material while bringing something entirely new to the table by retaining characterizations and the core storyline. Stargaze strives to do the same, this time presenting a retelling that is strong enough to make new fans understand why Trigun is so beloved and leave old fans guessing about what happens next. Stargaze is what remakes need to be: keep what works best and make it better.    

Watch on Crunchyroll.

The post Every Gun Makes Its Own Tune, And So Does Vash the Stampede in ‘Trigun Stargaze’ appeared first on Rolling Stone India.

With an acting legacy spanning hits like Empress Ki (2013–2014), Healer (2014–2015), The K2 (2016), Suspicious Partner (2017), and The Worst of Evil (2023), or his most recent, The Manipulated (2025), one of our top picks in K-dramas of 2025, Ji Chang-wook is a Hallyu mainstay whose career has been consistently shaped by nuanced performances. While playing a romantic hero may be his strongest suit, he’s as good a swashbuckling action hero as he is in a variety of other roles. And Ji shows no signs of slowing down, with a slate of upcoming projects already generating interest. Here’s the lowdown.

One of the most hyped titles on the list has to be Scandals. It’s an epic saga of obsession and messy consequences, reimagining the 2003 hit Untold Scandal, which was a massive box-office hit in South Korea at the time. Set against the backdrop of the Joseon era, the film is a thrilling romantic drama centred around the elite. Directed by E J-yong and starring heavyweights like Bae Yong-joon and Jeon Do-yeon, it’s reminiscent of the classic 1782 French novel Dangerous Liaisons (Dangerous Liaisons in English).

The upcoming K-drama takes place in the structured and unforgiving world of Confucian high society, starring Son Ye-jin as the poised Lady Cho and Ji Chang-wook as Cho Won, a wealthy playboy who thrives on breaking the rules. They hatch a plan to play emotional chess, using others as pawns for their own gain and flouting societal expectations. However, their little game blows up when they meet Hui-yeon (Nana), a young widow, and what starts as a calculated bet quickly spirals into a messy web of real feelings and complicated drama. The series will be available for streaming on Netflix, with the release date yet to be announced.

The next title has Ji Chang-wook teaming up with legendary actress Jun Ji-hyun for the 2026 apocalyptic thriller Gunche (tentatively titled Colony). With visionary director Yeon Sang-ho at the helm, this project is already shaping up to be a major hit, a “culmination” of Yeon’s cinematic universe that potentially draws on threads from hits like Train to Busan (2016) and Peninsula (2020). The plot feels like a high-stakes mix of Happiness (2021) and Sweet Home (2020 – 2024), centering on a group of people trapped in a building while a mysterious virus transforms their neighbors into terrifying creatures.

What makes this a must-watch, though, is the powerhouse cast. It marks the long-awaited big-screen return of Hallyu queen Jun Ji-hyun — her first film since 2015’s Assassination — alongside Ji Chang-wook and a stacked ensemble including Koo Kyo-hwan and Shin Hyun-been. With filming already underway, fans are eager to see if this “diamond in the rough” will become the next big thing in the K-horror universe.

The excitement continues with Ji Chang-wook and Japanese star Mio Imada teaming up for this new cross-cultural romance, Merry Berry Love. A collaboration between CJ ENM, Nippon TV, and Disney+, the story follows Lee Yoo-bin (Ji), a Korean man who moves to a quiet Japanese island for a fresh start after a career slump. There, he hits it off with Karin (Mio), even though he doesn’t speak Japanese. Expect laughs and awkward “lost in translation” moments as these two navigate a major culture shock while falling for each other.

Both leads are excited about the project, with Ji Chang-wook admitting that filming in Japan has been a long-time dream. And although he’s a bit nervous about the new territory, he’s fully prepped and ready to dive into the character. Mio Imada, a self-proclaimed K-rom-com fan, is equally stoked to live out her K-drama dreams and believes the heart of the show is that love is a universal language, which makes it so relatable. Merry Berry Love will stream on Disney+, with the release date expected to be announced soon.

The post Ji Chang-wook: What’s Next for the Hallyu Star appeared first on Rolling Stone India.

Euphoria is as chaotic as ever in the first official trailer for its long-awaited third season. The HBO series returns on April 12 after more than four years.

“A few years after high school, I don’t know if life was exactly what I wished,” Rue (Zendaya) says in the preview. Now in her early twenties, she’s still mixed up in the drug game, though it seems her role may have shifted from excessive user to a middleman on the sales side. Let’s hope it’s a well-paid gig, at least, because she has some unsettled debts.

Laurie (Martha Kelly), the drug dealer Rue crossed in Season Two before escaping from a bathroom window, has come back to collect. “You owe me money,” she tells her. Laurie tracked Rue down at the smoke shop she’s presumably been working out of — and she brought backup. Rue, as we know, has never been great at facing high-stakes scenarios head-on. She typically prefers to deflect and run, but that isn’t an option here. Her sponsor, Ali (Coleman Domingo), urges her to lean on her faith, though there’s a question of how much it can really help her now.

Naturally, Rue is captured by Laurie again, only to later become a bargaining chip in an exchange with another nefarious figure (Adewale Akinnuoye-Agbaje) who apparently oversees some kind of escorting empire. “It’s not that weird, every girl I meet is a sugar baby,” Maddie (Alexa Demie) says, but not her. “I’m not a fucking hooker.” Jules (Hunter Schafer) might be, though, and the character Rosalía has been hired to play is a stripper at the Silver Slipper. There’s some gray area everyone seems to exist within now.

Cassie (Sydney Sweeney) is an OnlyFans content creator, much to the disgust of her fiancé, Nate Jacobs (Jacob Elordi). “I work all day,” he says. “My bride-to-be is spread-eagled on the internet.” The state of his character arc isn’t pristine, either. Nate is now running a construction company, but can be seen in a brief scene, his eyes filled with terror. He looks like he’s been caught red-handed. Cassie’s sister Lexi (Maude Apatow) seems to be doing OK, at least.

Euphoria Season Three will also see the return of Eric Dane, Dominic Fike, Chloe Cherry, Nika King, and more. It will be the first season of the show since the death of Angus Cloud, who played Fezco, in July 2023.

From Rolling Stone US.

The post Unsettled Debts and Sugar Babies Create Chaos in ‘Euphoria’ Season 3 Trailer appeared first on Rolling Stone India.

In turning the life and times of American cover artists Mike and Claire Sardinia (Lightning & Thunder) into a biographical music drama Song Sung Blue, the power of Neil Diamond’s songs comes to the fore, as interpreted by lead actors Hugh Jackman and Kate Hudson.

While the film — based on a 2008 documentary by Greg Kohs — released in the U.S. on Dec. 25, 2025, it’s now hitting Indian cinemas on Jan. 9, 2026, via Universal Pictures, capturing the tumultuous, resilient musical spirit of a Neil Diamond tribute duo. A film inspired by Neil Diamond’s music, Song Sung Blue features Jackman and Hudson singing favorites ranging from “Sweet Caroline,” “I Am… I Said,” “Cherry, Cherry,” and of course, “Song Sung Blue.”

“It really becomes a story about love and dedication to each other,” Hudson tells Rolling Stone India.

Jackman tells Rolling Stone India exclusively about why he was drawn to playing Mike Saridina in Song Sung Blue, “It was such a compelling, beautiful idea, what I sensed was this ode to tip jar musicians around the world.”

The Australian actor and singer is famously known for musical roles in The Greatest Showman and Les Misérables. He says about portraying a hardworking musician, “It seems like such an arbitrary and fine line between someone being a massive star or not, and this was a celebration of the type of people who got a tip jar in front of them and are playing while working three jobs. They do it for the love of it, and they’re really fantastic. To me, this is a love letter to them.”

For him, he saw the likes of Lightning & Thunder as not the kind who were chasing “booking out Madison Square Garden” but playing karaoke nights or setting up at local pubs. “This movie is a love letter to musicians around the world who dedicate their lives to the music, who are singing at the state fair with nine people watching in the rain and having the time of their lives,” Jackman adds.

Another key draw with Song Sung Blue is the love story between the Sardinias. “Where one plus one equals three — where two people coming together and being there for each other sparks magic,” Jackman says.

Directed by Craig Brewer (known for his 2005 film Hustle & Flow), the project also brought in composer and longtime Hollywood executive music producer Scott Bomar. While Bomar had composed the score for Hustle & Flow and worked with Brewer on subsequent films, Song Sung Blue was a project that required a different treatment. “Each song in the film has a thematic purpose both lyrically and in how it is filmed,” he says.                    

Before any filming began, Brewer and Bomar oversaw the pre-recording of all the music in Song Sung Blue in Memphis. Among the musicians enlisted for the soundtrack were Richard Bennett, who toured with Neil Diamond for decades and also co-wrote and played guitar on “Forever in Blue Jeans.”           
“We wanted the music to be true to both the original Neil versions and how Lightning and Thunder would have performed them,” Bomar says.

After recording the instrumentals, Jackman and Hudson recorded their vocals, a process that helped them get into character in a new way. “We didn’t really have any time to rehearse before filming — we would do some read-throughs of the script, but really it was the time where Kate and Hugh were recording together that they began to figure each other and their characters out,” Brewer says. “The time that they spent singing together just really contributed to the chemistry between the two of them on camera. They already just had such trust and felt like they’d known each other for decades.”

The post Exclusive: Hugh Jackman and Kate Hudson on How ‘Song Sung Blue’ is a Love Letter to Musicians appeared first on Rolling Stone India.

Picture this, you’re back home from school, as the warmth of Summertime nostalgia wafts in the air. The soft static of the TV underscores the afternoon, while you browse through the channels, landing on the prime time slot, and your favorite musical drama film or TV show is on. As the character sets up their mic onstage for a soundcheck, thousands holler their name, and you chant along with them. The opening riff of the electric guitar not just fills the stadium onscreen, but also the confines of your room. You sing along to the barrage of bangers, syncing with the audience as they sway along to the tunes of the protagonist. 

Seems too familiar an experience? Well, that’s the beauty of Indian musical dramas. Be it wanting to get the same Quawwal jacket as Jordan from Rockstar, or write razor-sharp bars like Murad in Gully Boy, these films and TV shows have not only served as audio-visual fodder for music lovers across the country, but also inspired many to dig deeper into the world of independent music. Going beyond inspiration, these fictional personalities also oscillate on the spectrum of archetypes, from tortured artists and hip-hop underdogs to prodigal perfectionists, which closely mirror zodiacal personality traits. Wondering which fictional character would fit your astrological energy best? Read below to find out.

Capricorn: Aditya Shroff (Rock On!!)

 If you’ve nurtured the maniacal dream of being in a rock band with your best friends, you’ve Aditya Shroff to blame. A concoction of creativity and passion, Shroff is the charismatic, multi-talented lead vocalist of the band Magik. In typical Capricorn fashion, ambition functions as a double-edged sword in his life. On one hand, it’s his opiate; be it conquering stages, locking label agreements, or serenading audiences, there’s no plan B. On the other hand, pragmatism, coupled with his workaholic nature, blinds him from prioritizing things and people that truly matter. Vulnerability is a foreign, nightmarish concept, one that he struggles to embrace until the very end. Surviving the artist to finance bro pipeline, his soullessness is mistaken for callousness. However, beneath that icy exterior lies a heart that relentlessly yearns for reconciliation and basks in the nostalgia of his glory days.

Aquarius: Priyanka Sethi (Dhoom Machao Dhoom)

A sonic idealist, rules and stereotypes for Priyanka Sethi are like water off a duck’s back. The leader of the fictional “Pink Band,” Sethi is an eccentric Aquarian, comfortably reveling in her imaginative bubble of ideas and melodies as she shapes her next song. 

Pisces: Rahul Jaykar (Aashiqui 2)

The signature electric riff from “Sun Raha Hai Na Tu” instantly reminds you of Rahul Jaykar from Aashiqui 2, the personification of the wounded artist archetype. A supremely talented musician afflicted by the evils of fame, Jaykar is like an empty vessel, in search of a boundless reserve to give him meaning. Charming yet sincere, he covers up his fallacies with an outpouring of unconditional love. High-strung and elusive, Jaykar embodies the Piscean quintessence of hopeless romance, one that catalyzes his self-expressive, artistic nature. Marching to the tunes of his own ebbs and flows, he harnesses his intuition to identify potential and lend a hand to those in need. 

Aries: Krish Kapoor (Saiyaara)

Unfiltered and impassioned, Krish Kapoor is the poster child of fire signs. Tenacious and competitive, he’s relentless in his pursuit of shaping his own trajectory. Rarely one to sugarcoat, Kapoor is criminally aware of his self-worth. This fiery intensity also extends emotionally in the form of warmth and ingenuity that soothes his loved ones. A serial rule-breaker, he is often an authoritarian nightmare. Yet his raw temperament either manages to captivate or intimidate those around him. 

Taurus: Joseph Mascarenhas (Rock On!!)

A man of few words who lets the guitar do the talking, Joe is a reliable and grounded peson, displaying unfailing loyalty towards his loved ones. A classic Taurus, he thrives in predictive situations, marinating in the comfort of routines far more than normal. His stubbornness and incessant need to go all-in or all-out cost him at times, compelling him to put his authenticity on the back burner. Yet it is that very bullishness that eventually leads him back to music, his one true calling.

Gemini: Ishaan (Ishaan: Sapno Ko Awaaz De)

A quirky high school student with a hidden musical talent, Ishaan shuttles between fulfilling his class clown duties and being the lead vocalist of his band. A self-proclaimed butterfly, he uses humor as a crutch to deflect difficult situations. Leading a double life, both as a musician and student, he juggles a myriad of dilemmatic situations, right from exploring intercollegiate band culture and record deals to balancing friendships, all while being tested at every step of his journey. But he wades through courageously, thanks to his adaptable nature. His added comedic timing and melodic musings help him win over the most sour-faced individuals. 

Cancer: Qala Manjushree (Qala)

Cancerian sensitivity remains embedded in Qala’s artistry. Her voice is her arsenal, but also her Achilles heel. To the world, she’s the golden songbird, but behind closed doors lies an emotionally turbulent yet intelligent individual who yearns for approval. Is it her own or the world’s? The lines forever remain blurred. Nevertheless, she’s a successful, self-made woman who uses her agency to bolster other female artists, while also rightfully demanding what is hers. Honing her craft with dedication and consistency, Qala is the tragic equivalent of the water sign prototype.

Leo: Rosie Noronha (Bombay Velvet)

Born to perform, Rosie possesses an intrinsic theatrical flair, with gritty Leo ambition acting as her primary fuel. She wears her heart on her sleeve, and when the show lights turn on, it’s going to be the performance of a lifetime. A grandiose personality emboldened by warmth, she remains in charge of her own destiny, driven by an insatiable appetite for wanting more from life.

Virgo: Radhe (Bandish Bandits)

A zodiacal perfectionist, Radhe is an analytical, detail-oriented, and thoroughbred disciplinarian who will push himself to musical extremes. With an undying love for his craft, which is sometimes powered by intense self-criticism, his quest to seek purpose and fulfillment even after being a classical music prodigy never stops.

Libra: Insia (Secret Superstar)

Using her voice not just for expression, but also for familial harmony, Insia strives to create balance between her extreme, dwindling parallels. While wanting to free her family from the clutches of her abusive father, she also strives towards setting up her dream career as a singer. An inherent diplomat guided by empathy, she relies on herself as a moral compass to chart a unique course shaped by her ambitions.

Scorpio: Jordan (Rockstar)

Whether he’s the nonchalant Jordan or the gullible Janardhan, a sense of secrecy creates a fog over his true identity. There’s something poetic about Jordan’s rage; it comes in layers, masked as anarchy, but in reality, there’s a visceral purity to his pain. Defiant and outlandish, he’s willing to bite back with equal ruthlessness against society’s cruel intentions, using his words and tunes to express the unsaid. However, like the typical Scorpio, when it comes to love, he’s unabashed and unapologetic. It becomes his all-encompassing sanctuary, a utopian middle ground where everything plays out like a fairytale. Willing to go to extreme lengths to protect his prized possessions, Jordan lives in an eternal tussle between self-sabotage and acceptance, chasing any modicum of normalcy with added intensity. 

Sagittarius: Murad (Gully Boy)

A dynamite explosion of talent powered by fiery grit, Murad lets temperament guide his quill in a constant “me against the world” rhythm. A true explorer at heart, the gully underdog is driven by Sagittarian impulsivity and the unflinching bravery to face the unknown. Turning every thought, wound, and wonder into cutting bars, Murad looks his setbacks in the eye, welcoming them for another battle round.

The post Which Indian Music Protagonist Are You, According to Your Zodiac Sign? appeared first on Rolling Stone India.

As the credits roll signalling the end of 2025, there have been several unforgettable characters that have lived and breathed on screen. Some have lingered in our memories longer than the others, like imaginary ghosts taking up space, their existence looping on repeat in the theater of our minds.

Their impact is undeniable, making us question everything from their motives to their journeys. In order of release date, here are some of the films from around the world that stood out on the silver screen this past year.  

On Becoming a Guinea Fowl (Zambia)  

Directed by Rungano Nyoni 

When Nyoni’s grandmother died, she penned her dream down. That dream, born out of grief, has taken the shape of a 95-minute film. Uncle Fred is dead, his body is discovered on a desolate highway by his niece, Shula. Uncle Fred has a long list of sexual assault charges to his name but as per tradition, the funeral will be held and everybody must grieve for the deceased. Shula, a victim of sexual assault herself, becomes a reluctant mourner in a performative funeral. A guinea fowl’s job is to alert the savanna of the coming danger. Here, Shula is the guinea fowl, and the danger was Uncle Fred. But now that the danger is dead, is the coast clear or will the pain and burden brought about by generational trauma and silence persist? 

Train Dreams (United States) 

Directed by Clint Bentley 

This is a quiet film. Based on Denis Johnson’s 2011 novella, it follows the life of Robert Grainer, spanning eight decades set during the late 1800s to the slightly more modern early 1900s. Life is like a train, you get a ticket without knowing where you’ll end up. You take your seat and watch the world pass by around you. You stop for a while at each station, soaking it in. Passengers come and go, but you stay rooted to your seat, governed by inertia until you finally arrive at your destination. Robert Grainer was packed off on the Great Northern Railway as a little boy; he didn’t know where he came from or where he was going and wandered through life in a dreamlike haze. This is a tender film, grounded in the reality of what it is to take that journey on the train called life. No matter what happens, you are helpless and you can’t get off until you reach the last station. This film makes fantastic use of third-person narration, gently guiding the story along one stop at a time.  

Kokuho (Japan) 

Directed by Lee Sang-il 

Ningen Kokuhō translates to ‘Living National Treasure,’ an award bestowed by the government of Japan to a master of a craft, working in a field dedicated to preserving art of cultural significance like music, noh and even kabuki. This 175-minute film encompasses five decades of Kikuo, a kabuki actor’s life. When 14-year-old Kikuo’s father, a yakuza boss, is killed, he is taken in as an apprentice by a renowned kabuki master and trained alongside the master’s son Shunsuke. Both of them specialize in onnagata — male actors who play the roles of women in kabuki. Their strong bond of brotherhood is tested are they are pitted against each other both on and off stage. Fame, success, skill and talent alone aren’t enough to make it in an industry where your blood determines your worth. Both Ryo Yoshizawa (Kikuo) and Ryusei Yokohama (Shunsuke) trained for a year to prepare for their roles as kabuki artists, and it shows in their performances in the film. Playing out as dramatic as a kabuki performance, Kikuo’s saga gives you a front row seat to the elusive, often ruthless, but undeniably beautiful world of kabuki. 

Sentimental Value (Norway) 

Directed by Joachim Trier 

When their mother passes away, Nora and Agnes find their estranged film director father, Gustav, coming back into their lives. His next project is about their grandmother Karin, who killed herself in their family home when Gustav was a child. It is to be shot on location, and he’s written the lead role for Nora, who’s an actress, as a peace offering. Nora refuses, prompting Gustav to cast famous Hollywood actress, Rachel Kemp in her stead, leading to greater strain on their bonds. What follows is a realistic look at complicated relationships, generational trauma and how sometimes, creative outlets–not time–can be used to heal wounds. Gustav’s film isn’t just about his mother. Its scale stretches to warmly envelop his daughters, himself and even his grandson. One of the takeaways is that when art is something deeply personal, it’s hard for an outsider to convey those emotions, as seen from the differences in Nora’s and Rachel’s performances for the same monologue. Fantastic performances from Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas, and Elle Fanning with Trier and Eskil Vogt’s strong screenplay is what makes Sentimental Value stand out. This film within a film is one of the most genuine portrayals of fractured familial relationships and how they can be glued back together one shattered piece at a time to create something beautiful–kintsugi at its finest.     

Sound of Falling (Germany) 

Directed by Mascha Schilinski 

In this haunting film, the viewer is made to wander like a ghost through a farmhouse in Saxony-Anhalt, Northern Germany. Four women of different ages scattered across different times are tied together by an invisible anchor, tethering them to the same geographical location. Etched into the estate are the trapped echoes of memories, eroding the walls with generational trauma, abuse and other dark secrets that stain the wallpaper. Time flows disjointed, past and present coalescing as you witness the lives of those who occupy the space between these walls; peering through a keyhole, between the bars of a window, obscuring your view of a door that’s left slightly ajar. You come away feeling uncomfortable, an unwelcome phantom that bears witness to something not meant for an outsider’s eyes. Schilinski’s second feature film is a century of wallpaper affixed to the walls of a house that begs you not to look away, no matter how melancholic the pattern is. 

No Other Choice (Korean) 

Directed by Park Chan-wook 

This is the Korean remake of a 2005 French film Le couperet (The Axe), which in turn was an adaptation of Donald Westlake’s novel of the same name. Finding a job is the modern version of the Labour of Hercules; today’s world has an oversaturated job market, featuring enough desperados who would gladly take anything they can get. Plus, there’s AI, which can replace their human counterparts, saving the company time and money. Park Chan-wook has expertly depicted a disgruntled laid-off employee’s sure-fire method to landing that dream job. Loyalty is seldom rewarded, as Man-su finds when he’s fired from his company. Constantly passed up wherever he applies, helplessness and desperation sink their claws into him. He’s a good man, a family man, and he needs a job. His solution? Eliminate the competition. He’s sure to land a gig if his competitors are dead. The cinematography and sound serve as another layer of throwing the audience off because you never know what to expect. Darkly comedic and mildly concerning, No Other Choice is the office worker’s guide to murder.  

Frankenstein (United States) 

Directed by Guillermo del Toro 

Mary Shelley’s Frankenstein: The Modern Prometheus is the reanimated corpse that refuses to die, two centuries later. This book has received countless adaptations, all of which vastly differ from the source material. While del Toro’s is the closest we’ve come to getting a faithful adaptation, it undoubtedly isn’t what Mary Shelley penned down all those years ago. Instead, this film focuses on an aspect of the Creature that most adaptations choose to forget — that this patchwork galvanized corpse held together by stitches with the overpowering need to be human just wants to be accepted by his creator, Victor. As a result, in the pursuit of showcasing the humane side of the Creature, the film humanizes him a little too much. But interpretations are what keep the source material alive, and it is undeniable that this is a classic Gothic horror story done right. Finally, the Creature gets his spot in the sun.   

Blue Moon (United States) 

Directed by Richard Linklater 

It’s a tough choice between two of Linklater’s biographical directorials Blue Moon and Nouvelle Vague, but Blue Moon wins out by an inch. Blue Moon is one night in the life of Lorenz Hart. One of Broadway’s biggest breakups was of the songwriting team Rogers and Hart who were responsible for a lot of standards like “My Funny Valentine,” “Blue Moon,” “Manhattan” and “The Lady Is a Tramp.” On the opening night of Oklahoma!, the play which would cement the partnership of Richard Rodgers and Oscar Hammerstein II, Hart departs the play early and finds himself at the bar at Sardi’s. Hart waits anxiously, despair pooling at the pit of his stomach for the inevitable rave reviews for a project he backed out of and his own declining career. When the crowd arrives and the night progresses, it becomes increasingly painful and an uncomfortable sort of funny. The kind in which you find yourself laughing in situations that are frankly bittersweet and heartbreaking. Ethan Hawke, digitally shrunk and looking quite unrecognizable in a combover, delivers a brilliant performance as Hart. Blue Moon feels like a play masquerading as a film, which perhaps makes it an apt tribute to Lorenz Hart.    

The Secret Agent (Brazil) 

Directed by Kleber Mendonça Filho 

The story unfolds in 1977 Brazil, set against the canvas of the country’s military dictatorship spanning 21 years. Armando arrives in Recife when the Carnival is in full swing and is caught in the maelstrom. This is an unusual spy thriller, moving at a languid pace with a complicated cast of characters that merits at least three watches to untangle each thread of the film’s tapestry, all of which could very well stand as individual films themselves. Corruption, political unrest, hired hitmen, a tiger shark and a severed leg; in the world of The Secret Agent, paranoia is injected into the characters’ veins, whether they like it or not.    

Hamnet (United Kingdom) 

Directed by Chloé Zhao 

Shakespeare is a bard who is as colorful and intriguing as the characters in his plays and whose life is as rich as his stories. But in Hamnet, it is his wife, Agnes (whose name was changed from Anne) who takes center stage, shining brighter than the spotlight. The story focuses on the courtship and marriage of Shakespeare (Paul Mescal) and Agnes (Jessie Buckley) and the tragedy that is the death of their only son. Buckley’s powerful performance is balanced by Mescal’s understated one, both perfectly depicting the two sides of people broken by grief. Dreamlike, heartbreaking and surreal, Zhao’s film feels as mystical as the woods Agnes feels at home in.    

The post The 10 Best World Cinema of 2025  appeared first on Rolling Stone India.

Picture this: It’s finally Christmas, the gingerbread cookies are ready, and as everyone eagerly makes their way into the living room, the great movie debacle begins. While some want to soak in the saccharine dullness of Hallmark movies, others want to opt for a more rom-com-infused pick. As chaos ensues, the screen sadly flickers, with “Are you still watching?” glimmering in the distance.

Perhaps, the solution to the watchlist conundrum is not to pick the most quintessential X’mas flick, but choose the most off-grid option. It’s time to ditch the predictable plot lines, unimaginably corny climaxes, and overtly sappy soundtracks for a more diverse catalog that has something in store for everyone. From daylight horror flicks to Bollywood comedy essentials, beat all the performative cinephile allegations as Rolling Stone India brings to you a not-so-cliched Christmas watchlist.

The Parent Trap (1998)

Is it even the holiday season without a Nancy Meyers movie? Unlike stereotypical Hallmark film slop, The Parent Trap doesn’t walk around clichés (identical twins separated at birth, English versus American lifestyles, “evil stepmother”, and more), but rather pokes fun at them in its own way. Turns out, summer camps are a true ground for mending wounded relationships, as Anjali from Kuch Kuch Hota Hai would know. Starring Lindsay Lohan, Dennis Quaid, and Natasha Richardson, the Nineties film follows identical twins Hallie and Annie (both played by Lohan) trying to bring their once-separated parents back together after a fateful meeting at a summer camp. With its cozy escapism, themes of family and reconciliation, The Parent Trap feels like a comforting hug of a film, perfect for Christmas viewing, when all you really want is a little nostalgia, a little magic, and the reassurance that broken families (and hearts) can still find their way back together.

Eyes Wide Shut (1999)

Christmas deserves a Kubrick entry, and Eyes Wide Shut fits the brief. An erotic psychological drama, the plot unfolds in a high-society setup, featuring Dr. Bill Hathford (Tom Cruise) and his wife, Alice (Nicole Kidman). Riddled with sexual tension, from orgies to occult practices, the film taps into the human subconscious, particularly the moral greyness of desire. Set against a backdrop of glittering Christmas lights and decadent holiday parties, Eyes Wide Shut is a strangely fitting festive watch that uses the season’s polished surface to expose the darker, unspoken desires beneath, a provocative counterpoint to the usual cheer and sentimentality.

In the Mood for Love (2000)

A stunning, audio-visual masterpiece, In the Mood for Love is a cinematic treat. With carefully crafted frames, full of longing, the film leaves space for all that remains unsaid. Set against the bylanes of British Hong Kong, the plot focuses on an unconventional love story between protagonists Su Li-zhen (Maggie Cheung) and  Chow-Mo wan (Tony Leung Chiu Wai), one born out of extramarital affairs. Take your yearn-o-meter up a notch as you press play on this critically acclaimed film. Its hushed intimacy, slow-burn romance, and aching sense of loneliness make it an unexpectedly perfect Christmas watch, ideal for a season of heightened emotions and reflection.

American Psycho (2000)

A film that tapped into the soulless finance bro trope ahead of its time, American Psycho is a non-negotiable vibe-setter. Enter Patrick Bateman, the OG ten-step skincare girlie, whose maladaptive, violent fantasies, powered by patriarchy, are slowly taking over his present reality. Sigh, employment (cue drum sting). Aside from his murderous ordeals and psychopathic tendencies, Bateman’s hyper fixation with critiquing mainstream Eighties pop rock remains resolute. Now that’s a true melomaniac right there. With a brutally satirical plot that’s guaranteed to cut through the season’s sugar rush, American Psycho deserves to a worthy contender for an X’mas movie night.

Golmaal 3 (2010)

One thing about 2010s Bollywood brainrot is its everlasting versatility, and Golmaal 3 certainly fits all the bills. Part of the Golmaal franchise, the third instalment of Rohit Shetty’s car-crashing cinematic universe unravels familial layers existing between the rival groups, led by Madhav (Arshad Warsi), and Gopal (Ajay Devgn). With clever nostalgic comebacks, knee-slapping comedy, riveting puns, and a notable plot twist, the film acts as a desi palate cleanser for all the Hallmark movie mush you must have consumed earlier. And lastly, what better way to welcome the festive cheer than to have Kareena Kapoor’s iconic “Bhenchik marone posli chusio” dialogue echoing in the background?

Delhi Belly (2011)

Gather your roommates, this is going to be a lore-laden watch. Delhi Belly is one of those films that got its flowers much after its initial run. One can even say it aged like fine wine, Christmas style. Shedding away his iconic chocolate boy demeanor, Imran Khan’s Tashi joins Kunal Roy Kapur’s Nitin and Vir Das’ Arup for a raunchy adventure of misfits navigating mundanity and money problems that is sure to shock and awe. Unbeknownst to them, a package switcheroo turns their world upside down, landing them in the most unsuspectingly comical scenarios. 

Lady Bird (2017)

For those who want to enjoy an A24-esque, somber Christmas, Lady Bird is right up your alley. Chronicling the complexities of mother-daughter relationships along with the audaciousness of adolescence, the film is equal parts heartwarming and gut-wrenching; kind of like the male version of the underrated classic, Udaan. Couple it with a cup of hot cocoa, a tissue box, and a cozy blanket, and you’re set to have a thought-daughter-coded Christmas.

Happy New Year (2015)

Barring its repetitive projectile vomit jokes, Happy New Year, at its very core, expands on a nail-biting heist with patriotic undercurrents. A Farah Khan brain-rot relic, the 2015 film is apt for when you want to keep your “cinephile” hat aside, and truly soak in the joy of watching something with your mind switched off. Add some spice to those recurrent movie picks by opting for this wild card, and your night is sure to turn into a riot. True to its title and celebratory spirit, it fits neatly into the Christmas-to-New-Year limbo, when excess, spectacle, and chaos just feel a little more acceptable.

Midsommar (2019)

Yes, Ari Aster fans, quit hollering now. Crank up the holiday madness to the extremes with Midsommar, a trippy daylight folk horror feature that is most certainly going to rob you of sleep. Bonus points if you’re watching it all alone, bunked up in your apartment. A masterful combination of oddities, the film doesn’t rely on the supernatural, but on the sickening extent to which human vulnerability can be manipulated. Starring Florence Pugh, Will Poulter, Jack Reynor, and more, Midsommar is not one to be digested in a single sitting; you’re bound to be rewinding, replaying, and pausing at easter eggs and background scenes, each an equally important cog that drives the story forward.

Sister Midnight (2024)

Fellow misandrists, rise up. Starring Radhika Apte, Chaya Kadam, Ashok Pathak, and more, the film, which is London-based filmmaker Karan Kandhari’s directorial debut, revolves around the most haunting premise of all: arranged marriage. A Small-town misfit, Uma miserably tries to squeeze into the domestic outlines of the “perfect” housewife. Every day is a test, right from her good-for-nothing husband’s retorts to the neighbors who are equally invested in her topsy-turvy marriage. Comically sardonic, Sister Midnight emulates Fleabag levels of supporting feminine wrongs, making it a watch that is bound to marinate cerebrally, even after the house party ends. The soundtrack also contains sonic surprises, with Paul Banks, a member of the band ‘Interpol,’ doubling as a composer. Why pick this for Christmas? Because amid a season obsessed with domestic bliss, family ideals, and forced togetherness, Sister Midnight presents a subversive counter-programme.

The post RSI Recommends: The Ultimate Offbeat Christmas Movie Watchlist appeared first on Rolling Stone India.

It’s been a big year for anime, especially when it comes to films, with both Demon Slayer: Infinity Castle Arc and Chainsaw Man: Reze Arc looking larger than life on the big screen. But there’s also been a plethora of shows that released this year, and narrowing it down to a definitive list is as difficult as becoming a Pro Hero. Choices are subjective, and it’shard to categorize anime when each series is unique with its own strengths and weaknesses. For the sake of elimination, last year’s rankers like Dandadan, Ranma1/2 and Black Butler that were renewed this season will be excluded from this list. Without further ado in order of release date, here are some of the best animes that aired this year.  

The Apothecary Diaries Season 2 

Studio: OLM, TOHO animation STUDIO 
Sometimes second seasons are better than the first, as is the case with this anime. Maomao was leading an idyllic life as an apothecary’s daughter until she was thrust into the Imperial Palace as a maid. Her plans of staying incognito are thrown out the window because the Imperial Palace is a hotbed of intrigues and conspiracies (as most courts are). Armed with her extensive knowledge of medicine, Maomao unravels the thread of mysteries, unmasking one culprit at a time. Perfect for those who love playing detective and can’t get enough of historical fiction.  

Uma Musume: Cinderella Gray 

Studio: CygamesPictures 

Racehorse lovers and equestrians, this one is for you. If you’ve been noticing a flood of horses or horse- related posts on the internet, thanks to the western localizsation of Uma Musume, then put on your blinkers and turn to the spin-off series focusing on Cinderella Gray. Uma Musume literally translates to horse girls and Cinderella Gray is the anthropomorphic anime-girl variant of real-life racehorse Oguri Gray (RIP). Can this country girl… er… horse girl make it to the big league? Real life horse Oguri Gray was nicknamed the ‘Idol Horse’ and his anime counterpart strives to make her moniker count. Uma-amazing, neigh-sayers will be left in the dust. 

Takopi’s Original Sin 

Studio: Enishiya 

Some anime exist to emotionally destroy you, and this is one of those so keep the tissues handy. Take E.T., make it a dark, psychological thriller, turn up the sadness and strip away any and all hope, and then you get Takopi’s Original Sin. Takopi, a cute little alien resembling an octopus has a dream:– to spread happiness across the universe. On Earth, he is rescued by Shizuka, a sad little girl who lives a miserable life. Takopi’s bid to make her happy only ends up making things worse. The more Takopi tries, the deeper the hole he digs for Shizuka. Good intentions don’t always yield good results. This is a tearjerker with a trigger warning.     

Milky☆Subway: The Galactic Limited Express 

Studio: Yōhei Kameyama 

This series of 3-minute shorts have all been produced, written and directed by one person —–Yōhei Kameyama. After being arrested for recklessly driving in space, Chiharu, a superhuman and Makina, a cyborg, have been sentenced to community service. Along with four other convicts, they have been tasked to clean the interplanetary train, Milky☆Subway. But when it suddenly activates, the violation of space traffic laws is the last thing on anyone’s mind. How do you begin to stop a runaway space train? Remember, drive responsibly, even in space, going at warp speed is only limited to the Starship Enterprise. 

The Summer Hikaru Died 

Studio:  CygamesPictures 

Yoshiki’s best friend Hikaru went missing for a week up in the mountains and returned. This would ideally be good news, if Yoshiki hadn’t chanced upon Hikaru’s corpse while searching for him. The new Hikaru isn’t the same nor does he seem human. But, he is determined to stick around and strike down anyone who gets in his way. Grief is a painful thing; loss is heartbreaking and letting go is out of the question for Yoshiki. Meanwhile stranger things than dead coming back to life is brewing in the town. It, looks like Hikaru isn’t the only monster that’s come down from the mountain. This eldritch rural horror is a slow- burn terror that perfectly encapsulates the suffocatingly eerie nature of small towns, death and the heavy price you pay for not being able to say goodbye.   

Gachiakuta 

Studio: Bones Film 

This year’s stand out shounen. In a world where things are carelessly discarded for the smallest reasons, Rudo gently salvages what’s left and makes them good as new. When he’s framed for the murder of his adoptive father, he’s thrown into the Pit, the dark cavernous opening that swallows up all the garbage. Contracting tetanus is the least of Rudo’s worries in the Pit, with its giant trash monsters and toxic air quality. He joins the Cleaners, a group that’s pushing back against the Trash Beasts in hopes of escaping the Pit and bringing his father’s killer to light.   

The Fragrant Flower Blooms with Dignity 

Studio: CloverWorks 

Chidori Public School has an infamous reputation for being a school for delinquents. Rintarou Tsumugi certainly looks the part with his bleached hair and pierced ears, but that can’t be further from the truth for this gentle giant. A chance encounter with the beautiful and delicate Kaoruko Waguri, who sees him for who he really is, sets the stage for this year’s standout romance anime. Too bad Kaoruko goes to the elite all-girls Kikyo Private Academy, whose students look down on the Chidori students. This is Romeo and Juliet without the bloodshed or unnecessary drama. With an equally strong, well fleshed-out supporting cast, this anime takes a good, long look at growing up, insecurities, fear and expectations. Don’t judge a book by its cover, you might actually like what’s written underneath.  

My Hero Academia Final Season 

Studio: Bones Film 

In its heyday, My Hero Academia was the biggest name in modern shounen. Over the years, though, it has lost its shine due to a multitude of reasons:– the fandom space, the character arcs, the rushed battle sequences, and the rising popularity of other shounen anime. Nevertheless, the series persevered and finally culminates in this eighth and final season. Ending on an incredible high after nine long years, you can’t deny there was a reason this was so popular. Whether or not you’re still a fan, this finale is something you can’t miss, almost like attending the funeral of somebody you once considered a close friend . Goodbye Izuku, you’ll always be a hero.  

Gintama – Mr. Ginpachi’s Zany Class 

Studio: Bandai Namco Pictures 

Gintama is one of those shows where context isn’t going to help you explain the ludicrous situations its colorful cast of characters get embroiled in. Often breaking the fourth wall by parodying everything from Stephen King to Star Wars, the term copyright doesn’t exist in Gintama’s vocabulary. Occasionally there were segments in a high school setting with the main character, Gintoki, as the homeroom teacher. Now, that segment has got its own spin-off series with the same humour that makes you double over with laughter until your ribs ache. Ginpachi sensei has his hands full, with students’ temperaments ranging from a mayonnaise addict, a stalker gorilla, a baby-faced sadist and worse. In this seat of learning, sanity is thrown out the window and rules are non-existent. Class is in session!  

Tatsuki Fujimoto 17-26 

Studio: P.A. Works, Zexcs, Lapin Track, Studio Kafka, 100studio, Studio Graph77 

Before Chainsaw Man or Fire Punch, Tatsuki Fujimoto wrote a series of one-shot manga that laid the foundations for his later works. This anthology of eclectic short stories gives you a glimpse into the strange and absurdist mind of a mangaka who’s managed to subvert the expectations of a shounen protagonist. With stories ranging from a vampire hiring an assassin to end his years of immortal suffering to a little girl who’s the harbinger of the apocalypse, a boy teaching a mermaid how to play the piano, and a humans disguised as chickens post an alien invasion. This is a wild ride from start to finish.       

The post The 10 Best Anime Shows of 2025  appeared first on Rolling Stone India.

2025 just handed us a mixtape of Korean drama and cinema, hitting all the right notes. From the tense, fast‑paced ER chaos of The Trauma Code: Heroes on Call to the bruised‑but‑unbroken halls of Weak Hero Class 2, this year served up a cocktail of gritty thrillers, hilarious road trips, and culinary time‑travel. We also got a taste of the supernatural, with the likes of The Witch and KPop Demon Hunters giving us curses and demon-slaying choreography in equal measure. And just when we were craving something deeper and more intriguing, Nine Puzzles and Revelations gave us plenty to think about. Finally, for a good‑old‑fashioned emotional hit, stories like When Life Gives You Tangerines and Our Unwritten Seoul proved to be the perfect comfort‑viewing experience. Here are our recommendations of the 25 best K‑dramas and Korean movies released this year.

The Trauma Code: Heroes on Call

In just eight episodes, the series crams a full‑blown medical thriller into a tight run, dropping you straight into a tense emergency ward where every second counts. But instead of just shouting over monitors, it layers in the personal baggage of the staff, turning each surgery into a mini‑character study. The main lead, played by Ju Ji‑hoon, balances cocky confidence with a surprisingly tender vulnerability that makes his “hero” feel human and relatable. What really sets the series apart are the narrative quirks — quick flashbacks that explain why a nurse is terrified of blood, a darkly comic sidekick who cracks jokes in the middle of a code, and subtle digs at hospital bureaucracy that are timely and universal. Visually, it’s crisp, the soundtrack pulses with urgency, and the whole package feels like a love letter to real‑life trauma teams while still delivering the binge‑worthy drama K‑fans crave. All of that adds up to a story that’s not just entertaining, but oddly resonant, making it one of the year’s best K-dramas.

Weak Hero Class 2

Weak Hero Class 2 is a sequel as excellent as its predecessor, taking an already heated premise and dialling it up with even higher stakes, sharper humor, and a raw intensity. The story intensifies the pressure by thrusting Park Ji-hoon’s Yeon Si-eun back into a new school that’s a hotspot for bullying, hallway brawls, and juvenile delinquency while still letting his haunted past bleed into every showdown. Park is still a magnetic lead — his understated stare now carries the weight of a teen who’s learned that fighting the system sometimes means fighting yourself. The supporting cast adds fresh layers, and the villains embody the casual cruelty that fuels school campus terror. Visually, it’s a muted color palette, a grungy mess that reflects the inner scars of the characters. And beneath all the fights and bruises, it asks: What does it mean to be strong when everyone around you is already hurting? It’s a difficult question, but Weak Hero Class 2 answers it with nuance.

Trigger

Trigger hits a nerve and questions, “What would cause an ordinary person to pick up a gun?” Kim Nam-gil’s haunted ex-soldier Lee Do wrestles with his sniper past while trying to stay unarmed, and Kim Young-kwang’s vengeful arms dealer Moon Baek turns broken souls — an exam-stressed candidate, a bullied teen, an overworked nurse, and a grieving mother — into walking “triggers,” proving anyone can snap when society’s safety net collapses. Director Kwon Oh‑seung’s insistence on relatable, everyday victims (“It was important that the characters who eventually pick up a gun were not special”) gives the show a raw, unsettling realism, while his comment that we’ve become “desensitized to many issues… because we are too often exposed to them through the news” fuels the series’ critique of a numb, unequal world. The ending pulls an unexpected turn: Lee Do drops his gun and hugs a terrified child. That simple act says “empathy beats violence,” and it makes Trigger feel less like a thriller and more like a gripping exploration of pain, morality, and the fine line between justice and revenge.

Buried Hearts

Buried Hearts nods to the secrets everyone’s trying to keep under the surface, the emotional baggage that stays hidden behind polished corporate smiles. Park Hyung‑sik turns the quiet, meticulous secretary Seo Dong‑ju into a magnetic antihero, slipping from charming efficiency to cold-blooded vengeance with a subtle intensity that makes every glance feel loaded. Opposite him, Huh Joon‑ho plays the charismatic tycoon Yeom Jang‑seon with a calm menace that keeps you guessing whether his smiles are genuine or just another move on the board. The plot twists around a hidden two‑trillion‑won slush fund, but what really hooks you is the way the series layers personal betrayal with bigger questions about power, class, and how easily ordinary people can become pawns or puppeteers in a corrupt system. That, combined with the chemistry between Dong‑ju and Eun‑nam (Hong Hwa‑yeon), adds a whole lot of heat.

When Life Gives You Tangerines

This story is like a warm breeze from Jeju that sneaks into your soul and stays there. It follows Ae‑sun, a scarf-clipping poet born in the 1950s, and her steadfast love, Gwan‑sik, tracking their lives through war, economic downturn, and heartbreaks. IU and Park Bo‑gum are just perfect playing the roles, letting you feel every cracked smile and silent tear without any over-the-top melodrama. The series plays with time, slipping back and forth so smoothly you never lose the thread. And beneath their romance lies a low-key commentary on the pressure to conform, the invisible struggles of women, and how love can be both a refuge and a rebellion against a rapidly modernizing society. Wrapped in gorgeous island scenery and a soundtrack that hums in the background, this K-drama is a 2025 gem.

Typhoon Family

Set against the backdrop of the 1997 IMF storm, Lee Jun‑ho (of 2PM) pulls off the shift from a carefree playboy to a reluctant heir with his signature charm. His character, Kang Tae‑poong, is a guy who suddenly has to run his dad’s failing company, becoming a mirror for a whole generation that had to trade fun for responsibility overnight in Korea. Opposite him, Kim Min‑ha’s Oh Mi‑seon brings an understated resolve to the office bookkeeper, juggling family duties and her personal ambitions. As their connection deepens softly, an undercurrent that builds with slow intensity. The series has a slice‑of‑life rhythm, letting small moments like late‑night coffee runs, awkward board meetings, whispered arguments, and a chain of hurdles breathe, which makes the larger economic backdrop feel personal. Visually, it’s a warm, slightly grainy snapshot, beneath whose laughs and inevitable squabbles lies a take on resilience: when the nation’s values get shaken, it’s the messy, imperfect bonds that keep you afloat. All of that adds up to a heartfelt ride, cementing Typhoon Family as one of our favorites this year.

The Manipulated

Ji Chang‑wook drags you straight into the nightmare of Park Tae‑joong, a delivery guy whose ordinary life is ripped apart by a flawless crime set‑up, turning the series into a pressure‑cooker of pure suspense and bruised humanity. Ji treads the thin line between broken victim and simmering avenger, delivering a performance that’s as hard‑hitting as it is oddly tender. Meanwhile D.O (of EXO) radiates a cold, calculating menace — his stare alone could freeze a courtroom. The storytelling is crisp, slipping in flashbacks and tight close‑ups that let you feel every heartbeat of the cat‑and‑mouse chase, and the narrative never allows you to forget that the real villain might be the system that manufactures scapegoats. Visually, the show is a gritty noir, turning prison corridors into a maze of moral ambiguity, and an occasional, almost lyrical silence amplifies its observation on power, truth, and how easily innocence can be erased.

Nine Puzzles

True to its title, Nine Puzzles is a mind‑bending jigsaw starring Kim Da‑mi’s Yoon E‑na — a high‑school trauma survivor turned keen profiler who can read a crime scene like an open book. The series opens with the chilling image of her uncle’s murder, the lone puzzle piece that haunts her memory, and then jumps a decade to watch her dissect fresh killings that mirror that old nightmare. Son Suk‑ku’s Detective Kim Han‑saem walks beside her, a weary cop whose lingering doubt about E‑na’s involvement adds a constant sense of tension to their uneasy partnership. The storytelling is deliberately fractured — flashbacks bleed into present-day interrogations, suspects shift allegiances, and the camera dwells on the silent moments where you can sense the weight of every clue. Below the clever whodunit lies an exploration of how trauma can rewrite identity and how truth can be a moving target, all shrouded in a moody visual style. The series ends on a cliffhanger that leaves the final piece hovering, forcing you to wonder whether the answer will ever truly fit.

Mercy for None

So Ji‑sub dives right back into a “no‑forgiveness” mess as Nam Gi‑jun, an ex‑gangster who’s now slaving away at the drink‑stand until his brother gets killed and his inner beast shows up — again. The drama delivers pure emotional punch and cinematic thrills that made his 2022 comeback in Doctor Lawyer a hit, while blending the dark noir of Alienoid and Confession into a relentless vendetta. Directed by Choi Sung‑eun and adapted from O Se‑hyung’s webtoon Plaza Wars: Mercy for None, the series boasts a stacked cast — Heo Jun‑ho, Ahn Kil‑kang, Cha Seung‑won, and others — that deepens Gi‑jun’s clash between brotherly loyalty and underworld brutality. In short, it’s a compact, nonstop action fest that feels fresh and unmistakably tied to the world of So Ji‑sub.

Bon Appétit, Your Majesty

Bon Appétit, Your Majesty is a culinary-themed roller coaster that quickly became one of 2025’s beloved K‑dramas. The premise of modern French chef Yeon Ji‑yeong abruptly time-slipping into Joseon after a big win gives the series a “fish‑out‑of‑water” punch, and the way each episode spins around a new dish turns food into a plot engine. The chemistry between Yoona’s (of Girls’ Generation) determined chef and Lee Chae-min’s brooding king really sells the romance; their banter is as natural as a perfectly seasoned broth. The palace aesthetics are lavish, and the meticulous plating of fusion cuisine is practically a character in itself, turning every shot into a curated Instagram post. Beneath the glittering plates, the drama nudges at bigger ideas — how genuine care can bridge centuries, heal old wounds, and challenge rigid traditions. In short, it blends fantasy, politics, comedy, and food into a single, addictive bite that’s an ode to Korean cuisine and a reminder that the way to a man’s heart is through his stomach.

Karma

A freak accident connects six strangers — a jittery witness who trades his soul for a secret, a haunted doctor confronting the man who scarred her childhood, a crypto‑broke dad chased by loan sharks, a fired office worker recruited for a shady job, a charming clinic owner whose girlfriend is a manipulative schemer, and a desperate man teetering on the edge of ruin — into a knotted mess. Each episode comes with a new character’s backstory, a fresh crime, and a cliffhanger that makes you hit “next” eagerly, while the whole thing snaps together in a relentless, omnibus style. The visuals of dull alleyways, stark interiors, and a set of colors between gray and occasional, almost surreal pops of red amplify the noir piece further. The cast, especially Park Hae-soo’s deadpan intensity and Shin Min-a’s trauma-struck performance, turns each protagonist into a mirror for our own hidden sins, highlighting that Karma hits back, that selfish, desperate acts echo back like a boomerang, and that no one walks away unscathed.

The Witch

Roh Jeong‑eui plays Mi‑jeong, the “witch” who’s been shunned since every guy who falls for her ends up dead, and she carries that weight with a silence that makes you feel her loneliness in every frame. When Jinyoung (of Got7) swoops back in as the data‑whiz Dong‑Jin, his unwavering love for her (since high school) and stubborn optimism turn the whole mystery into a slow-burning puzzle, with flashbacks that pull the curtain on the rumor that turned a kid’s gossip into a life sentence. There aren’t any frantic chase scenes, just lingering shots capturing Dong-jin’s feelings, his secret love for Mi-jeong, and how hard he’s trying to free her from the curse and loneliness she has been living with. The performances are top-notch, bringing the supernatural vibe to life, and the subtle satire on witch hunts and the conflict between science and superstition resonate more profoundly than any Kang Full universe stories that fans have been engrossed in since Moving.

Study Group

At Yusung Technical High School, the only thing sharper than the protagonist’s glasses is his fighting skill, and the series blends that contrast into something very entertaining. Hwang Min-hyun portrays Yoon Ga‑min, a bespectacled underachiever at this notorious school who dreams of college but keeps hitting the bottom of the class — and who discovers his secret weapon: he can fight like no other. When he ropes a few fellow strivers and a teacher (who’s against the mess on campus) into a makeshift study group, the gang has to fight the school bullies and a crime ring that treats the campus like its own playground. The fast‑paced action‑comedy featuring over‑the‑top fist fights and walls getting punched through delivers cathartic conflict resolution, while the visual contrast between Ga‑min’s meek student side and his fierce fighter alter ego gives the narrative an anime‑like kick, calling out Korea’s cut‑throat education system and celebrating perseverance, friendship, and the belief that if you want to be a hero, your special skills will matter more than a perfect GPA.

Undercover High School

Undercover High School works because it turns a classic spy premise into a high‑school comedy‑thriller that actually makes sense. Seo Kang‑joon plays NIS ace Jeong Hae‑seong, who gets demoted after a botched operation and is sent undercover at an elite high school to hunt for missing gold bars linked to Emperor Gojong. The school becomes both his new field of operation and his chance to learn the truth about his missing father, an NIS agent who disappeared years ago while working on the same mission. There, he teams up with history teacher Oh Su‑a (Jin Ki‑joo), a childhood crush who slowly realizes the “new student” is the boy she once loved, and together they navigate bullying, school politics, and corruption. The drama’s mix of genres — action, comedy, teen drama, and a slow‑burn romance — keeps the first half lighthearted and the second half surprisingly deep, letting the mystery unfold at a satisfying pace. There are fun and heartfelt school scenes juxtaposed against slick fight sequences, and Seo Kang‑joon’s post-military comeback reintroduces his arresting presence and firmly anchors the series.

Our Unwritten Seoul

Park Bo‑young pulls off a flawless twin role as the free‑spirited ex‑athlete Mi‑ji and the buttoned‑up corporate warrior Mi‑rae, two identical sisters swapping places for a few months, which turns into a clever mirror therapy, forcing each woman to confront her own cracks, from Mi‑rae’s workplace issues to Mi‑ji’s grief over their mother’s death. Along the way, a laid-back farmer and a caring lawyer turn into unexpected allies they can confide in. Slice-of-life moments in the drama, such as ramen by the Hangang, the hum of a rural field, and the contrast between Seoul’s neon grid and the sleepy countryside, captured with a painter’s eye, intensify the emotional undercurrent. We come across depression, anxiety, and generational trauma explored with honesty, and the line, “Everything you do to survive is an act of courage,” settles in like a calm, reassuring whisper you didn’t even know you needed.

No Other Choice

In true Park Chan-wook style, the film takes on a dehumanizing economy, exposing the toxic competition that the system breeds. Lee Byung-hun turns a middle-aged paper company expert into a desperate anti-hero whose change from polite resignation to murderous job-hunting gets scarier over time. Son Ye-jin‘s quiet presence injects a subtle but powerful sense of family pressure that grounds his downfall in reality. The film’s satire bites hard, alongside a tense pacing that never lets you settle. And through swift whip pans and abrupt zooms, the camera work mirrors the protagonist’s growing panic and anxiety. It’s a singular black‑comedy thriller critiquing a structure that treats workers as disposable, turning a simple layoff into a brutal survival game that resonates way beyond 2025.

The Ugly

Director Yeon Sang-ho frames his mystery story in a way that makes you piece together a mother’s tragic past alongside her son, Lim Dong-hwan. The plot follows Dong‑hwan, the son of a blind seal‑engraving master, who discovers his mother’s skeletal remains after forty years and, with a journalist, digs into the family’s dark secrets. Park Jeong‑min, as usual, aces his characters, this time in a double act as the present-day son and flashback father. The film’s “ugly” look is an intentional statement on how society brands people as monsters, probing beauty, prejudice, and the cost of Korea’s rapid growth. Its modest $143k budget turned into a $7.7 million box‑office win, proving that gritty storytelling and performances can shine brighter than any expensive production.

My Daughter Is a Zombie

Lee Jeong-hwan (Jo Jung-suk) is a single father whose teenage daughter, Soo-a (Choi Yu-ri), contracts a virus during a zombie outbreak. He brings her to his mom’s seaside village, steering clear of neighbors ready to shoot, and attempts to “train” his zombie daughter with his tiger trainer expertise, as she oddly continues to dance and sing along to her favorite songs. The film balances playful silliness and heartfelt sweetness, tossing snappy humor into scenes that hit you right in the heart. The film’s biggest win? It makes you root for a zombie teen. No wonder it’s one of the most commercially successful South Korean movies of 2025.

KPop Demon Hunters

The film follows the K-pop sensation group Huntrix — Rumi, Mira, and Zoey — who double as demon hunters protecting Seoul’s magical Honmoon from the soul‑sucking Saja Boys and their overlord Gwi‑Ma. The songs, which blend K-pop with an urban fantasy replete with mythology, drive the plot. With their fusion of 3D CGI and K-pop video style, directors Maggie Kang and Chris Appelhans create the illusion that every battle is a ballet. The dynamic Seoul backdrop, which fuses together reality and folklore, elevates the experience. Rumi’s half-demon skin becomes a metaphor for shame, and the friendship among the girls turns the climax into an anthem of self-acceptance. The film comes alive as a cultural celebration and a universal coming-of-age tale, steeped in Korean mythology, language, and K-pop culture, making it feel unmistakably Korean despite being a Sony Pictures Animation (U.S.) production.

Revelations

Revelations is a tight maze of faith, paranoia, and broken memories, and with Alfonso Cuarón’s steady hand on the production side, the whole thing has an almost documentary feel. Ryu Jun-yeol plays Pastor Sung Min-chan with a subtle intensity that makes his strict sermons crack under pressure. Shin Hyun-been’s Detective Lee Yeon-hee is a haunted, bruised heroine whose visions of her dead sister bleed into every interrogation. The story starts with a girl who has gone missing, but then quickly becomes a clash of faith, ideas, and opinion. It doesn’t use jump scares very often; instead, it uses psychological fear to show how belief can creepily change reality.

Dark Nuns

Dark Nuns is an intriguing follow-up to The Priests (2015), which sends two nuns on a dangerous exorcism that could cost them. Song Hye‑kyo’s Nun Yunia tackles a tabooed practice with an undying conviction; her staunch determination to save a demon-possessed Hee‑joon (Moon Woo‑jin) drives every intense expression and gesture. Director Kwon Hyeok‑jae frames the nuns’ forbidden exorcism as a crossfire between faith and medicine — Priest Paul trusts medical care while Priest Andrew employs exorcism, and the clash feels like a fray of horror and challenges. Jeon Yeo-been’s Nun Mikaela balances stoic resolve with the subtle doubt that makes the demon’s grip palpable. In the end, Dark Nuns becomes a contemplation on self-sacrifice, unwavering belief, and the bravery to defy authority when the fate of mankind is at stake by fusing Korean religious symbolism with an eternal struggle between good and evil.

The Match

If you’re looking for a sports flick with a twist, The Match delivers. It’s based on the true story of Go legend Cho Hun‑hyun and his protégé Lee Chang-ho, showing how the mentor-student vibe turns sour as Lee’s skills start to outshine Cho’s. The movie does a great job of capturing how tense and heavy the rivalry between the student and the master is on their minds and hearts. Lee Byung-hun and Yoo Ah-in deliver powerful performances, bringing depth and nuance to their characters and their inner struggles. Their work pushes an already sublime story beyond the Go arena, reframing the game through a unique lens that captures ambition, pride, and redemption.

Noise

Director Kim Soo‑jin taps into Korea’s obsession with noisy apartments and turns it into a spine‑chilling mind game. The movie follows Ju‑young (Lee Sun‑bin), a young woman on a relentless hunt for answers after her sister vanishes from their cramped high‑rise. Ju‑young’s own hearing glitch makes every creak feel like a scream, and suddenly the walls are alive with weird noises and an unsettling presence that won’t let her rest. It’s the kind of film that scares you while also making you question every floorboard you ever stepped on.

Yadang: The Snitch

Yadang: The Snitch is the year’s top-growing R-rated hit. Kang Ha‑neul plays Lee Kang‑soo, a street-smart broker who’s slammed into prison on a bogus drug charge, only to be offered a deal by the ruthless prosecutor Koo Gwan‑hee (Yoo Hae‑jin) to snitch for his freedom. As Kang‑soo supplies key information that advances Gwan‑hee’s political career, Detective Oh Sang‑jae (Park Hae‑joon) uncovers the suspicious alliance. When a VIP party bust reveals a web of high-profile corruption, Kang-soo is betrayed, framed, and left for dead, leading to a harsh, “Sting”-style revenge pact with the disillusioned cop. Director Hwang Byeong-guk’s neo‑noir aesthetic, sharp editing, and dark humor blend with authentic food‑scene details, while the film’s insight into systemic rot and moral compromise gives it a lasting kick.

First Ride

First Ride is like crashing a friend’s party — messy, hilarious, and utterly charming. Four lifelong friends, all approaching 30, finally take the overseas trip of a lifetime to Thailand, only to get royally lost in the chaos. Kang Ha‑neul, Kim Young‑kwang, Cha Eun‑woo, and Kang Young‑seok throw down the usual banter and friendship, while Han Sun‑hwa totally steals the show as the fearless Ok Sim. Director Nam Dae‑joong mixes up the laughs with some genuinely heartwarming moments, catching that bittersweet feeling of getting older and still chasing crazy dreams. The gorgeous scenic locations and bright, sun-kissed shots crank up the wanderlust, making the whole thing feel like a feel-good road trip that’ll have you smiling — and maybe sighing a little over your own wild rides.

The post The 25 Best K-Dramas and Korean Movies of 2025 appeared first on Rolling Stone India.

Brat Summer lives on at Sundance Film Festival, where Aidan Zamiri’s The Moment starring Charli XCX will make its premiere. The film is based on an original idea by the musician and interrogates the layered complexities of pop stardom. Following “a rising pop star [that] navigates the complexities of fame and industry pressure while preparing for her arena tour debut,” it imagines how Charli’s blockbuster album era might have played out had she made different decisions.

Balancing out the metafiction of The Moment, Sundance 2026 will also see the premiere of Antiheroine, an “unfiltered and unapologetic” documentary about Courtney Love. Directed by Edward Lovelace and James Hall, a logline for the film reads, “Now sober and set to release new music for the first time in over a decade, Courtney is ready to reveal her story.”

More music history will be captured through the world premiere of Tamra Davis’ documentary The Best Summer, an “all-access view inside an era-defining moment in music” with behind-the-scenes footage featuring Beastie Boys, Sonic Youth, Foo Fighters, Pavement, Rancid, Beck, The Amps, and Bikini Kill. Davis previously helmed 2010’s Jean-Michel Basquiat: The Radiant Child, and directed Britney Spears in Crossroads. She also produced the Kathleen Hanna documentary The Punk Singer in 2013.

The singer and songwriter Marianne Faithfull, who died earlier this year at age 78, will see her story captured in Broken English. The film from Jane Pollard and Iain Forsyth premiered at the Venice International Film Festival this summer, but will make its U.S. debut at Sundance. Broken English takes its title from Faithfull’s 1979 New Wave comeback album.

“Made with her full involvement, Broken English is an intimate and unflinching exploration of a fractured yet unbreakable life shaped by fame, creativity and relentless public scrutiny,” a description of the film reads. Broken English stars Tilda Swinton, George MacKay, Sophia Di Martino, Zawe Ashton, and Calvin Demba. It features appearances from Nick Cave, Warren Ellis, Jehnny Beth, Courtney Love, Suki Waterhouse, and Beth Orton.

Sundance 2026 will see director Joanna Natasegara make her documentary feature debut with The Disciple, which provides a look inside the making of Wu-Tang Clan’s supposedly one-of-a-kind album Once Upon a Time in Shaolin. “It’s like the Mona Lisa,” RZA told Rolling Stone about the album in 2018. “It’s got its own folklore.”

“An outsider fueled by relentless determination works his way into the inner circle of the Wu-Tang Clan, where his ambition and creativity converge in the making of an album poised to ignite global controversy,” the logline for the release reads.

William Greaves will take the festival back to a different moment in time with Once Upon a Time in Harlem. The film, which as of this September was still incomplete, according to The New Yorker, surfaces footage from a 1972 reunion of figures from the Harlem Renaissance, which gathered passionate and creative minds with nuanced and critical insights into race, politics, art, and more. Greaves helmed the event and captured it all on film, but died in 2014 at the age of 87 without ever releasing the footage.

His wife, Louise Archambault Greaves, chipped away at the project until her death in 2023. Once Upon a Time in Harlem was then passed on to the couple’s son David, who directed the version premiering next year. Figures that appeared at Greaves’s party, and made it into the film, include Eubie Blake, James Van Der Zee, Gerri Major, Jean Blackwell Hutson, Richard Bruce Nugent, and others.

Also premiering at Sundance 2026 is Paralyzed by Hope: The Maria Bamford Story. Directed by Judd Apatow and Neil Berkeley, the documentary builds on the comedian’s candid explorations of mental health. “Blurring the line between performance and personal crisis, comedian Maria Bamford turns her mental health journey into material that’s riotously funny and ultimately inspiring,” a description of the film reads. “What emerges is a portrait of an artist transforming vulnerability into creative strength through honesty.”

From Rolling Stone US.

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