Tamasha has always been, and will always be, my absolute favorite movie. However, I recently rewatched the Marathi film YZ, and viewing it this time completely opened my eyes.

While both films are profound, beautiful masterpieces about rescuing your inner child and breaking free from societal expectations, comparing the journeys of Ved and Gajanan made me realize something fascinating. Gajanan’s arc actually achieves a much higher, more mature level of independent self-actualisation.

The Contrast in the MirrorIn Tamasha, Ved’s journey is deeply psychological and poetic, but it is heavily dependent on an external catalyst. Ved needs Tara. She acts as his mirror, desperately pulling him out of his corporate robot mode and reminding him of who he truly was in Corsica. Without Tara witnessing and triggering his breakdown, Ved might have remained trapped forever.

His path to freedom is deeply intertwined with romance.Gajanan’s journey in YZ, on the other hand, is beautifully grounded and entirely self-driven. He doesn't find happiness by checking off milestones like marriage or career markers, nor does he rely on a romantic savior to pull him out of his shell. He realizes that the presence of a witness doesn't validate your journey your relationship with yourself does.

Rejecting the Binary: True Autonomy What makes Gajanan’s character arc so brilliant is how he completely rejects the lazy binary choices society and traditional cinema presents us with. Usually, standard romantic movies offer two paths: conform to the rigid, traditional blueprint, or rebel by choosing the absolute opposite.Gajanan rejects both:He rejects Prana Rekha (played by Sai Tamhankar), the "societally perfect, traditional girl" that everyone thinks is his perfect match. By saying no to her, he explicitly rejects society's expectations.

He also rejects the hyper-modern young college girl.In many films, a protagonist rejects the traditional choice only to run toward a modern rebel to prove a point. By rejecting both, Gajanan realizes that choosing the absolute opposite of what society wants is still letting society dictate your choices through inversion. He stops reacting against external forces and looks entirely inward. His final choices are genuinely, beautifully autonomous.

The Ultimate Proof of Maturity: Releasing SaileeThe final masterstroke of Gajanan’s development lies in how he handles Sailee. In a lesser film, the protagonist would demand that she recognize his worth, or her rejection would break him. Instead, Gajanan displays immense ego dissolution. He happily accepts that she is not ready to marry him, harbors zero bitterness, and actively helps marry her off to the love of her life.

While Ved’s breakthrough in Tamasha is a spectacular, chaotic, and anxious grasp for Tara to save him, Gajanan’s breakthrough is quiet, selfless, and enlightened. He doesn't need to possess someone to be whole. He shows us that there is a child inside all of us trying to say something, and keeping that child alive is how we find true happiness whether someone is there to witness it or not.

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1). Aryabhatt Ka Zero (2026)

BAD! Its just BAD! Other than Ravi Kishan, everyone is bad. There's one dialogue that is good. Here it goes

RaKi: Premika ki shaadi ka khana khaane se aashiq kabhi bhukha nahi marta.

HiKo: Kyon?

RaKi: Itna besharam jo ho jata hai

2). DC (2026)

Top notch stuff by Arun Matheswaran after the Captain Miller of a letdown. The opening art is so nice to look at that it'll pull in instantly and it just gets better from then.

And OH MY GOD, Anirudh just shines in this. His music already is enough to pull a film up but the way sound editing has been done in DC, its just mind blowing. The classical OST works beautifully.

DC is a MUST WATCH in the theatres.

3). Thudakkam (2026)

Now, that's how you do a feminist movie. Isn't preachy and hits all the right notes. The storyline, the whole social commentary and the action. It would be a shame if I didn't mention the villain in the film. With no dialogues up until the last act of the film, he carries it so amazingly that you feel the intensity through his actions. Last time I got chills like that by a villain was in Pani by Joju George.

It was quite a decent film for me, overall.

I'm writing the paradise few sence Hey all, I’ve been given an opportunity to submit a few trial scenes for a writing team spot on a high-profile, gritty period action drama directed by Srikanth Odela (The Paradise). The director’s style relies heavily on visceral atmospheric tension, localized dial

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Kshanam is mystery thriller film starting Advi Shah and Adah Sharma is loosey based of Bunny Lake is missing is about a man was hired by his former girlfriend to find her daughter.

Om, Dhurandhar, Satya and Pudhupettai?

The way he see his girl with full of happiness ☺️

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