Sagar Dass

Sagar Dass, man—this guy’s filmography is all over the place in the best way possible. You see his name pop up and you know something unusual is about to go down. Take “Prince and Family” (2025) for example. It’s not your standard family drama. The story basically rips the rug out from under you: a royal bloodline on the verge of losing everything, siblings who can barely stand the sight of each other, and one sketchy uncle who keeps popping up at the worst possible moments. Dass doesn’t just direct—he practically grabs you by the collar and drags you through every shouting match and awkward family dinner. There’s heart in there, but also a ton of snark and a couple of scenes that’ll have you side-eyeing your own relatives. Then you’ve got “Namukku Kodathiyil Kaanam” (2025), which—if you can wrap your head around the title—takes a sharp left turn into courtroom chaos. This one’s all about clashing egos, wild cross-examinations, and a central mystery that stays just out of reach until the last possible second. Dass’s style is less about subtlety and more about throwing everyone into the deep end and seeing who floats. He’s not afraid to play with expectations, and he’s got a knack for squeezing out those little moments—awkward silences, sideways glances—that say more than any big speech ever could. Oh, and don’t sleep on “Juliana.” It’s a bit of a curveball. Quieter, moodier, you can’t really pin it down to one genre. There’s romance, sure, but there’s also this undercurrent of melancholy and old secrets bubbling up. Dass just lets it breathe, no rush, no frills. Bottom line: his movies don’t play it safe, and that’s what makes them stick with you.