Samjith Mohammed

Samjith Mohammed’s filmography is actually kind of wild when you look at it—a jumble of genres, unexpected storylines, and no shortage of drama. Take Lucifer (2019), for example. That movie basically hijacked the political thriller scene in India for a bit. Mohanlal’s character, Stephen Nedumpally, walks into this chaotic political vacuum after the death of a powerful leader, and suddenly everyone’s scrambling for control. You’ve got betrayals, heavy backroom deals, and enough suspense to keep your jaw clenched for half the runtime. The layers just keep peeling back—one twist after another, and you’re never really sure who’s playing whom until the very end. It’s like Game of Thrones, but with more white dhotis. Now, fast-forward to O.Baby (2023). This flick totally flips the vibe—less about power struggles and more about the emotional rollercoaster of family. There’s this sense of nostalgia, regret, and second chances. You can feel the weight of lost time hanging over everything. The characters are messy, flawed, but weirdly relatable. It’s not afraid to get a little sentimental, but it never fully tips over into cheesy territory. There’s humor tucked in there too, just enough to break up the heavy stuff. Janaki vs State of Kerala (2025) is the wildcard—set in the near future, the story dives into legal battles, personal rights, and the bite of bureaucracy. It’s got this gritty realism, and the main character, Janaki, isn’t some superhero lawyer—she’s stubborn, vulnerable, and fighting like hell for justice against a system that’d rather see her lose. Honestly, Samjith Mohammed’s movies don’t really fit into one box. He’s not afraid of complicated stories, or characters that make you a little uncomfortable. There’s always something brewing under the surface—something that sticks with you after the credits roll.