Anurodh Gusain

Anurodh Gusain isn’t exactly a household name—yet—but you’ve probably stumbled across his work if you’re even a little tuned into the world of new Indian cinema. The guy’s been popping up in a handful of films lately, and honestly, he’s got range. Take "Bazooka" (2025) for starters. That flick’s got this wild energy about it, a kind of gritty vibe that sticks with you long after the credits roll. Gusain doesn’t just fade into the background, either—he’s right there in the thick of things, making you wonder what’s coming next. Then there’s "Manorathangal" (2024), which—let’s be real—couldn’t be more different. This one leans hard into human drama, digging into messy emotions and the tangled relationships that make life weird and beautiful. Gusain’s performance? Subtle, but somehow it lingers. He doesn’t overdo it; he just lets you feel everything simmering under the surface. And don’t sleep on "Anweshippin Kandethum" (2024). It’s got this slow-burn tension, almost like you’re waiting for a kettle to whistle but it just keeps getting hotter. Gusain shows up with that same quiet intensity, the kind that doesn’t need to shout to get your attention. There’s something about his presence—he’s not flashy, but he’s magnetic in this understated way that draws you in. So yeah, Anurodh Gusain’s name might not be on every billboard, but give it a minute. The guy’s carving out a space, one film at a time, and you can bet he’ll keep surprising people.