Koya Kishore

Koya Kishore’s name pops up whenever someone’s talking about punchy Telugu cinema lately, and honestly, it’s no surprise. The guy’s got Devara (2024) up his sleeve—a movie folks have been hyping like crazy, probably because NTR Jr. is front and center, and let’s be honest, that dude doesn’t do boring. Devara dives straight into the murky waters of vengeance, power, and the shadiest politics you’ll find on this side of the screen. Kishore’s touch is all over it—gritty visuals, intense face-offs, and that heavy, throbbing background score that makes you sit up a little straighter. But rewind a bit—Maharshi (2019). People still talk about the way that one blended big-city ambition with those old-school values. Mahesh Babu leads the charge; he’s not just some corporate hotshot, but a guy chasing purpose and messing with his own ideas of success. There’s rural drama, there’s swanky office drama, and somewhere in the middle, there’s Kishore’s knack for making every conflict hit just a bit harder than you’d expect. Jump to Bhagavanth Kesari (2023)—that thing’s a straight-up adrenaline shot. Balakrishna flexes his muscles, literally and emotionally, as he bulldozes through corruption and personal loss. It’s noisy, it’s wild, and Kishore leans into the chaos with a style that’s equal parts old-school masala and slick, modern storytelling. If you’re hunting for Telugu movies that actually swing for the fences, Kishore’s stuff is where you wanna be. Every film’s got that extra kick—like he’s daring you to look away. Good luck with that.