Vikram Mohan

Vikram Mohan’s name has been showing up in some seriously interesting places lately. You might recognize his work in The Smile Man (2024), which, honestly, kind of sticks with you long after the credits roll. The film’s got that uneasy, off-kilter vibe—smiles hiding secrets, you know? Mohan doesn’t just dabble in one genre either. He jumps from psychological thrillers to more grounded drama without missing a beat, which isn’t something you see every day. First Nights (2025) is a whole different beast. It’s got this raw energy, all about new beginnings, shaky starts, and the weird, hopeful terror of trying something for the first time. There’s this undercurrent of vulnerability, like nobody’s sure if they’re going to make it or just completely wipe out. Mohan’s direction pulls you in; you end up rooting for his characters even when they’re a mess. And then there’s Vanam (2021). Talk about a film that doesn’t pull its punches—nature, loss, human frailty, all tangled together. Mohan really leans into the emotional chaos, letting his characters breathe, stumble, and, sometimes, just fall apart. His style is kinda unpredictable, but that’s what makes his movies stick out. He’s not afraid to get a little weird or let scenes linger longer than most directors would dare. If you haven’t checked out his work yet, you’re honestly missing out. He’s one of those filmmakers people will probably be raving about for years.