Manjusree Nair

Manjusree Nair’s filmography is kinda wild, honestly. She’s got her hands in some of the more interesting projects lately. Start with Azadi (2025)—it’s not just a movie, it’s like a whole statement. The story digs into the chaos and hope that comes when people are actually willing to stand up for what matters, even when the world seems determined to keep things the same. It’s set against a backdrop that’s part gritty realism, part dreamscape, so you’re flipping between moments that feel uncomfortably real and others that are almost surreal. The cast pulls no punches, either. You feel every ounce of anger, love, and desperation—no sugarcoating. Then you’ve got Panchayat Jetty (2024). This one’s got a different vibe—smaller town, quieter drama, but just as much at stake. It’s all about the folks who make up the backbone of a little community, the people nobody really notices until everything goes sideways. There’s politics, family squabbles, and a jetty that’s like this weird metaphor for the whole mess of their lives. The writing? Sharp as ever. Manjusree brings out those little moments—the arguments over tea, the tired jokes, the heartbreak when dreams don’t pan out. Now, Antappante Athbudha Pravarthikal (Miracles of Antappan) (2024) is straight-up quirky. It leans into magical realism, blending the ordinary with the impossible. Antappan’s world is full of surprises, and the miracles are less about magic tricks and more about finding wonder in the everyday. It’s funny, touching, and just a bit absurd—which, honestly, is a breath of fresh air. Manjusree’s choices here show she’s not afraid to get weird, and it totally pays off.