Soustav Naskar

Soustav Naskar’s filmography? Oh, it’s basically a wild ride through different shades of storytelling—nothing cookie-cutter here. Let’s start with “Kennedy” (2023). That one, man, it’s all about the blurry line between justice and straight-up chaos. You’ve got a protagonist who’s kind of a mystery himself—one foot in the system, the other dangling over the edge. The film unravels this whole underbelly of crime and corruption with a moody, almost noir vibe, but it’s not just style over substance. Every character’s got their own baggage, secrets stacked on secrets. Naskar doesn’t spoon-feed you answers either, which is honestly refreshing for a change. Then there’s “Karkat Rogue” (2020). This one flips things into medical thriller territory, but not your typical hospital drama. It’s more like a slow-burn whodunit, packed with paranoia and conspiracy. You’re following a bunch of doctors and cops, but nobody’s who they seem—everyone’s motives are twisted, alliances shift like quicksand. The pacing? Tense as hell. And there’s this whole commentary about ethics in medicine and law, but it never feels preachy. Just messy, like real life. And “Superboys of Malegaon” (2024) is a total shift in gears—think documentary meets slice-of-life comedy, all set in this small Indian town obsessed with making their own low-budget superhero flicks. It’s got heart, man. The characters are regular guys chasing big dreams with duct tape and wild imagination. It’s funny, touching, and surprisingly sharp about why stories matter, even the scrappy ones. Naskar just nails that bittersweet, underdog energy throughout.