YEARENDER 2025: 5 must-watch Bengali films of 2025 before the year ends

Like many others, this correspondent doesn’t quite buy the theory that good films always make good money. But let’s be honest. 2025 has been a far better year for Bengali cinema at the box office than the previous few.

Sure, ‘The Eken: Benaras e Bibhishika’ and the decade-delayed Dev-Subhashree reunion ‘Dhumketu’ smashed records. ‘Films like Grihapravesh’, ‘Killbill Society’, ‘Puratawn’, ‘Ei Raat Tomar Amar’, ‘The Academy of Fine Arts’ and ‘Sharthopor’ also quietly pulled in solid numbers. As expected, family dramas and thrillers continued to rule the roost, no surprises there.

But then a handful of Bengali films dared to step out of the comfort zone, experimented with form and subject, discovered new voices and told stories that didn’t follow the usual template. So no, this list isn’t about box-office figures or weekend opening collections. It’s about films that took chances with strong narratives, fresh formats, committed performances and films that tried to break away from the mould. Here are our top five Bengali films you must watch before stepping into 2026.

Mayanagar

Aditya Vikram Sengupta, one of the strongest voices in contemporary Bengali cinema, places the past and the present side by side in a dreamlike narrative in ‘Mayanagar’. Since his debut Bengali feature ‘Asha Jaoar Majhe’, Sengupta has consistently challenged the status quo of Bengali cinema and ‘Mayanagar’ continues that pursuit. The image of the once-familiar 23-foot dinosaur outside Science City, long a landmark for Kolkatans, now replaced by an under-construction flyover, becomes a powerful metaphor for a city constantly erasing its past to embrace an uneasy modernity. Sengupta’s repeated use of Rabindranath Tagore’s busts, now reduced to remixes and soundbites, turns into a telling reflection on cultural dilution. Through evocative visuals and a sharply written narrative, ‘Mayanagar’ presents Kolkata not merely as a setting but as a living presence. Sreelekha Mitra and Bratya Basu are at the heart of this story of longing and decay, while Satrajit Sarkar and Shayak Roy leave a strong impression. One can only hope the industry takes note of their talent. The film didn’t receive the release it deserved in Kolkata. But for those who look for cinema that documents time, cities and emotional erosion, ‘Mayanagar’ is a must-watch.

Onko Ki Kothin

A small film with a big heart, ‘Onko Ki Kothin’ revolves around three children with big dreams, stuck in a world where schools remain shut after the COVID-19 lockdown. Director Saurav Palodhi presents a grounded look at poverty, everyday struggles and the fallout of love across religious lines. The film does have its loopholes. But its sincerity, gentle humour and belief in human connection largely work in its favour, making it a warm watch.

Nadharer Bhela

After ‘Bakita Byaktigato’ and ‘Rajlokhi O Srikanto’, director Pradipta Bhattacharya once again chooses an unusual narrative approach. This time, he places an almost painfully slow character, Nadhar (played with restraint by Amit Saha), in a world dominated by AI, algorithms and 20-second reels. Set in rural Bengal, a landscape Bhattacharya knows well, the film looks at society’s quiet enjoyment of cruelty, especially in today’s performative online culture. The director also draws from the myth of Behula, grounding the story in Bengal’s cultural memory while exploring ideas of love and endurance in Nadhar’s life. Saha is powerful, but Priyanka Sarkar, Aparajita Ghosh Das and Ritwick Chakraborty stand out as well, Sarkar in particular. The music, cinematography and atmosphere, combined with the film’s narrative rhythm, make ‘Nadharer Bhela’ a sublime experience for ‘serious’ cinema lovers.

Putulnacher Itikotha

Suman Mukhopadhyay’s adaptation of Manik Bandopadhyay’s classic is a haunting examination of reason and superstition. The film reflects on how individuals become puppets and are unable to break free from their own unrealised desires. The casting works at every level. Abir Chatterjee brings quiet intensity to Shashi, Jaya Ahsan delivers a layered performance as Kusum and Parambrata Chatterjee adds emotional complexity as Kumud.

Shotyi Bole Shotyi Kichhu Nei

Truth be told, this correspondent felt the return of the ‘old’ Srijit Mukherji. Adapting ‘Ek Ruka Hua Faisla’ (based on Reginald Rose’s ‘Twelve Angry Men’), Srijit keeps the core conflict intact while reworking the format. Instead of restricting the drama to a single room, he places the jury in different locations, allowing personal biases, ambitions and prejudices to surface. The film benefits from sharp writing, structural shifts and biting humour.

Strong performances from Ritwick Chakraborty, Kaushik Ganguly and Phalguni Chatterjee support the narrative, but what stands out most is Srijit’s commentary on contemporary issues. That personal and political urgency makes ‘Shotyi Bole Shotyi Kichhu Nei’ memorable and leaves one hoping to see more of this version of the filmmaker in the new year.