Shahi Kabir

Shahi Kabir, man, he’s carved out a reputation for himself in Malayalam cinema that’s way more than just a flash in the pan. If you’ve seen Joseph (2018), you already know his knack for gritty, raw storytelling. That film? It hits hard, no sugarcoating—dives deep into the messy business of crime and investigation, but it’s not your regular whodunit. There’s this almost haunting quality to how the story unravels, and honestly, it sticks with you. Then there’s Nayattu (2021). Oh boy, talk about a gut punch. The movie throws you into the chaos of three cops on the run, but it’s not what you think. It’s less about the chase and more about the system that chews people up and spits them out. Kabir’s writing pulls you right into the thick of the action, makes you question whose side you’re even on, and leaves you with that hollow feeling in your chest when the credits roll. He doesn’t just tell stories—he drags you through the mud with his characters. And Ela Veezha Poonchira (2022)? Wildly atmospheric. The setting itself almost feels like a character. Rain, fog, isolation—it all just adds to this sense of unease. The plot weaves mystery with a kind of slow-burn suspense, and you can almost feel the damp cold seeping through the screen. Kabir’s touch is all over it: layered characters, moral grayness, and a refusal to spoon-feed the audience. If you’re into Malayalam thrillers that don’t play by the rules, you can’t skip his work.