Film

Dev.D

A savage reinvention of a classic Indian novel, Dev.D transplants Devdas into contemporary Delhi—all heroin, rage, and urban despair. It's funny and merciless in equal measure, letting no one off easy, least of all its protagonist. For anyone ready for a film that despises sentimentality as much as it despises its own characters.

TMDb rating3.5

Should you watch it?

Watch it if you like a restless, rule-breaking reinvention of a familiar romance, where the style is loud and the characters are messy enough to argue with.

Skip it if the lead's self-pity and cruelty toward the women around him are the point, so if you need characters to root for, the long, unhurried stretches will wear thin.

What it asks of you: Two hours and twenty-four minutes, much of it spent in rooms with bottles and bad decisions, so it wants patience more than attention.

If you liked this

Udaan2010

A precise, tender portrait of a young man struggling against paternal control and his own paralyzing self-doubt. Achingly human and structurally elegant—it asks hard questions without pretending there are easy answers.

But It moves quietly and asks patience. There's no spectacle, no catharsis, just the slow weight of accumulated silence.

Udaan poster

Black Hawk Down2001

Amitabh Bachchan and Randeep Hooda in a film about education, disability, and the violence of low expectations. Formally ambitious in ways mainstream Hindi cinema rarely permits itself.

But It can feel didactic. The message sometimes elbows out the humanity, and the runtime doesn't always justify itself.

Black Hawk Down poster

Kahaani2012

A pregnant woman stalks a man through Kolkata in this brilliant subversion of the revenge thriller. Smart, tense, and built on the architecture of genre but with genuine surprise in its bones.

But The third act requires you to accept a certain moral clarity that the first two hours had earned the right to refuse.

Kahaani poster

Not sure tonight? Get a pick in a minute, starting from Dev.D

The wildcard

Something you would not have found on your own.

Satya1998

Both are contemporary Indian films that refuse to forgive their characters or their cities. Both use genre as a vehicle for moral reckoning rather than escape. Both are fascinated by self-destruction as a form of agency.

The Godfather of Hindi crime cinema, told in real time with a moral coldness that was genuinely shocking in 1998. Ram Gopal Varma's direction is pure control—every frame is suffocating and precise.

But It's been imitated so many times that its innovations are now invisible. And the political violence it depicts is real enough to feel grim rather than cathartic.

Satya poster
More like this (8)

Lootera2013

A heist film that's really a meditation on love and theft, shot through with a melancholy that most thrillers wouldn't dare sustain. Ranveer Singh does his best work here—dangerous and yearning at once.

But It's deliberately paced, sometimes to the point of languor. If you want momentum, look elsewhere.

Lootera poster

Shahid2013

A biography of a young lawyer executed for murders he may not have committed. Unflinching, propulsive, morally furious without losing sight of the man at its center.

But It's an anger film, and unrelenting ones can exhaust rather than elevate. The ending offers no relief.

Shahid poster

Wake Up Sid2009

A lighter film about a rich kid forced to grow up, but it wears its sweetness like camouflage for genuinely observed anxieties about purpose and drift in your twenties.

But It's more crowd-pleaser than provocation. Tones down the stakes in ways that feel safer than necessary.

Wake Up Sid poster

Oye Lucky! Lucky Oye!2008

A con artist film that's also a love story that's also a Delhi fever dream. Banners from different genres flapping at once, but it holds together through sheer narrative swagger.

But Structural showiness can overwhelm character. You're sometimes watching the director's cleverness more than the people on screen.

Oye Lucky! Lucky Oye! poster

Gangs of Wasseypur - Part 12012

An epic crime saga that refuses to mythologize its criminals or simplify its violence. Built on betrayal and vengeance across decades, shot through with dark comedy and genuine pathos.

But It's operatic in a way that demands surrender. If you resist the excess, it'll feel bloated and gratuitous.

Gangs of Wasseypur - Part 1 poster

Rang De Basanti2006

A group of friends accidentally become political activists. It's earnest about idealism without being naïve, and it moves with real momentum and affection for its ensemble.

But The political argument can feel schematic, and the film's faith in youthful heroism hasn't aged as well as its best scenes have.

Rang De Basanti poster

Requiem for a Dream2000

Both films refuse the consolation of false hope. Both track the precise mechanics of how a person dismantles themselves, and both suggest that sometimes self-knowledge arrives too late. Both use style—visual or sonic—to make despair feel like a physical thing.

Darren Aronofsky's film about addiction—to heroin, to diet pills, to television, to dreams—is formally ferocious and emotionally devastating. It's not interested in redemption, only in the geometry of collapse.

But It's deliberately punishing. The sound design, the repetition, the ending—all of it is meant to be uncomfortable. It's not a film you enjoy so much as endure, and only if you choose to.

Requiem for a Dream poster

Paterson2016

Where Dev.D is violent and Dev is monstrous, Paterson is gentle and its protagonist is kind, but all three are about men observing their own lives with varying degrees of clarity. Dev.D shows what happens when you refuse to look; Paterson shows what opens up when you do. Both reject the idea that a life has to be dramatic to matter.

Jim Jarmusch's film about a bus driver and poet in New Jersey who writes in a notebook and drinks beer and watches his small life accumulate meaning through repetition and attention. It's a minor masterpiece about minor things.

But Nothing happens. If you need plot momentum or dramatic incident, you'll find only routine, kindness, and melancholy. It moves at the speed of actual life, which most films have trained us not to tolerate.

Paterson poster

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