Kishore Ram

So, “Blood and Black” (2024) – let’s just say it pulls absolutely no punches. Kishore Ram isn’t messing around here: this movie goes straight for your throat and doesn’t apologize for it. It opens in a city that’s basically falling apart at the seams, where the rain never really lets up and the neon lights look more like bruises than hope. You follow a detective who’s already way past his breaking point, and honestly, you can’t really blame him. His partner’s gone missing, bodies have started turning up in the most gruesome ways, and everyone—from the street vendors to the so-called “untouchable” politicians—seems to be hiding something nasty. But, here’s what gets you: every single character feels like they’ve been chewed up and spit out by the city. The detective’s got his own crap to deal with—a messy divorce, a drinking problem, and a guilt complex you could build a bridge over. The killer? Oh, they’re not cartoonish or over-the-top. They’re someone you might pass on the street and never look at twice, which somehow makes it all even more unsettling. The plot keeps twisting, and right when you think you’ve figured it out, nope—another rug gets pulled out from under you. And just when you think it’s about the murders, it sneaks in these jabs about corruption, loss, and how everyone’s just faking it to get by. There’s blood, sure, but there’s also this weird, pulsing heart underneath it all that makes it hard to look away.