Kiran Koushik

Kiran Koushik’s name has been popping up a lot lately, and honestly, it’s not hard to see why. His work on Baby John (2024) kind of flipped expectations—everybody thought it would be your usual action drama, but the way he handled those gritty moments with a weirdly human touch? Chef’s kiss. The fight scenes weren’t just about who could punch harder; there was this underlying tension, like everyone was fighting their own inner mess, not just the bad guys. Then there’s Michael (2023). This one’s a slow burn, for real. People walked in expecting a straight-up thriller, but what they got was this layered, moody story about a guy trying to crawl out of his own shadow. Koushik doesn’t really do “surface level.” The way he shoots rainy streets, neon lights flickering on tired faces—it sticks with you. And don’t even get me started on the soundtrack. You know those moments when music just nails the mood? He gets it. Oh, and Idly Kadai (2025) is already getting buzz, even though it hasn’t dropped yet. Rumor has it, Koushik’s diving into something totally different—a mix of street food chaos and family drama, with enough twists to keep you guessing till the last frame. People are saying it’s got this raw, lived-in vibe that only someone who’s spent time in those bustling city corners could pull off. Basically, if Koushik’s name’s attached, you know you’re in for something that hits different.