Hari Samashti

Hari Samashti’s filmography isn’t huge, but man, the stuff he’s been involved with? Pretty wild. Kavaludaari (2019) grabs you from the jump—it’s a Kannada neo-noir thriller where everything’s twisted up in secrets, old bones, and a cop who’s way too curious for his own good. The film doesn’t walk a straight line, either. You’ll find yourself following a rookie traffic cop who gets tangled up in a decades-old murder case, and honestly, nothing is what it seems. Every time you think you’ve got it pegged, the story pulls a fast one. That’s kind of the vibe Samashti seems drawn to. Then you’ve got Beautiful Manasugalu (2017). This one? It’s a total switch-up—romantic drama, but with a bite. The plot pokes hard at the whole idea of trust and media chaos. When a scandal blows up, it shatters lives, and the movie doesn’t flinch from showing how ugly that fallout gets. It’s all about second chances, how people mess things up, and maybe, just maybe, find their way back. Toby (2023) rounds things out with a raw edge. The story deals with an outsider, a guy who’s been through hell and just wants a scrap of peace. Yeah, good luck with that. The world’s messy, and Toby’s journey is straight-up gritty—revenge, redemption, betrayal, all of it swirling together. Hari Samashti’s projects don’t shy away from the tough stuff; they lean in. Each film cracks open something real, and you kinda end up thinking about them long after the credits roll.