Suneel Ravinuthala

Suneel Ravinuthala—now there’s a name that’s been popping up more and more if you’re paying attention to Telugu cinema. The guy’s got a knack for diving headfirst into stories that don’t just scratch the surface. Take Pranaya Godari (2024), for example. It’s not your everyday romance flick. Instead, it throws you right into the heart of small-town drama, with riverbanks holding more secrets than anyone’s willing to spill. It’s humid, it’s raw, and the characters? Oh, they’re messy. Not “movie messy”—actually messy, like real people who make dumb choices sometimes and have to live with them. Then you’ve got Bahirbhoomi (2024), which is a whole different flavor. This one’s all about digging up the past, with family skeletons rattling so loud you can’t ignore them. The tension’s almost claustrophobic, and there’s this constant push-pull between tradition and breaking free that feels super relatable, especially if you’ve ever felt stuck in someone else’s idea of who you’re supposed to be. Ravinuthala doesn’t shy away from letting his characters be a little unlikable, and honestly, it makes the whole thing so much juicier. And before all that, there was Chitram X (2021). More experimental, a bit trippy at times, but you can totally see the seeds of his style. Twisty plot lines, characters who aren’t just black and white, and a vibe that leaves you thinking long after the credits roll. Suneel’s work isn’t about spoon-feeding you easy answers—it’s about making you sit with the mess and maybe, just maybe, see yourself in it.