বাংলা সাহিত্যে ভূতের গল্পের এক আলাদা স্থান আছে। আজকের এই বাংলা ভূতের গল্পটি এক অদ্ভুত শ্মশান ঘাটকে কেন্দ্র করে, যেখানে রাত হলেই নেমে আসে ভয়ংকর এক নিস্তব্ধতা। যারা সাহস করে সেখানে পা দেয়, তাদের জীবন আর আগের মতো থাকে না।
শুরুর কথা
ঘটনাটা ঘটে পশ্চিমবঙ্গের এক প্রত্যন্ত গ্রামের, নাম ধরি চণ্ডীপুর। গ্রামের শেষপ্রান্তে একটা পুরনো শ্মশান ঘাট ছিল—নির্জন, ঝোপঝাড়ে ঘেরা আর দিনের আলো পড়তেই যেন চারপাশটা নেমে যেত ভয়ের অন্ধকারে। গ্রামের লোকেরা সেখানে সূর্যাস্তের পর যেত না, এমনকি কারো মৃত্যু হলেও কেউ চায় না রাতে দাহ করতে।
অভিনেতা অমিতের আগমন
অমিত, একজন উঠতি অভিনেতা, শহর থেকে গ্রামে এসেছিল একটা ডকুমেন্টারি শ্যুট করতে—"বাংলার হারিয়ে যাওয়া রীতি ও কুসংস্কার" বিষয় নিয়ে। শুটিংয়ের অংশ হিসেবে তাকে শ্মশান ঘাটে যেতে হতো। অমিত কুসংস্কারে বিশ্বাস করত না। তার বিশ্বাস ছিল, ভূত-প্রেত সব মানুষের মনের ভয়।
গ্রামের এক বৃদ্ধ, হারাধন কাকা, তাকে সাবধান করেছিল, “বাবু, ওই শ্মশানটা ভালো নয়। বহু বছর আগে এখানে এক তান্ত্রিক সন্ন্যাসীর মৃত্যু হয়, তার পর থেকেই রাত হলেই নানা অঘটন ঘটে।” কিন্তু অমিত এসব কথা হেসে উড়িয়ে দেয়।
রহস্যের শুরু
শুটিংয়ের তৃতীয় দিন অমিত আর তার ক্যামেরাম্যান বাপন যায় রাত আটটার সময় শ্মশান ঘাটে। জোছনার আলোয় জায়গাটা আরও বেশি রহস্যময় লাগছিল। ক্যামেরা অন করে তারা শ্যুট শুরু করে—তবে কিছুক্ষণ পরেই বাপন বলে, “দাদা, ক্যামেরায় ঝাপসা ছবি আসছে, বারবার ফোকাস হারাচ্ছে।”
হঠাৎ বাতাস ঠান্ডা হয়ে গেল। গাছের ডালগুলো যেন আপনমনে দুলতে লাগল, কোথা থেকে যেন ভেসে এল এক করুণ কান্না—এক নারীর, গভীর বেদনাভরা।
অমিত চমকে উঠল। “কে ওখানে?”—চিৎকার করে উঠল সে। কোনো উত্তর নেই, কেবল কান্না আর ঠান্ডা বাতাসের শব্দ। বাপন কাঁপা গলায় বলল, “দাদা, চলুন! এখান থেকে বেরিয়ে যাই!”
কিন্তু অমিত তখনো বিশ্বাস করতে চায় না। ও বলে, “ওসব কিছু না, হ্যালুসিনেশন হচ্ছে।”
তখনই তারা দেখতে পেল শ্মশানের চুল্লির ধারে এক সাদা শাড়ি পরা নারী বসে আছে, তার চুল মুখ ঢাকা। নারীর মুখ দেখা যাচ্ছিল না, কিন্তু তার বুকফাটা কান্না বাতাস ছিন্ন করে কানে আসছিল।
ভয়ংকর মোড়
অমিত সাহস করে তার দিকে এগিয়ে গেল, আর তখনই সব বাতাস থেমে গেল। এক মুহূর্তের জন্য সব শব্দ স্তব্ধ। সে নারীর মুখটা হঠাৎ ওপরে উঠল। কুৎসিত, পোড়া মুখ—যেন জীবন্ত কেউ আগুনে পুড়ে ছাই হয়ে গেছে!
বাপন চিৎকার দিয়ে দৌড় দেয়। অমিত পাথরের মতো দাঁড়িয়ে পড়ে, তার চোখ স্থির সেই নারীর চোখে। এক অদৃশ্য টান যেন তাকে নারীর দিকে টানছে। সে হাত বাড়ায় নারীর দিকে—আর তখন নারীর মুখ বিকৃত হয়ে গর্জে ওঠে, “আমার চিতায় কে এসেছিসss…”
তারপর আর কিছু মনে নেই অমিতের।
পরদিন সকাল
গ্রামের লোকজন ভোরে দেখতে পায়, শ্মশান ঘাটে অমিত অচেতন অবস্থায় পড়ে আছে। তার শরীর ঠান্ডা, কিন্তু জীবিত। ডাক্তার বলে সে মানসিক আঘাত পেয়েছে—তার মস্তিষ্ক স্বাভাবিকভাবে কাজ করছে না। সে শুধু একই কথা বলছে, “আমি চিতায় যাইনি... আমি চিতায় যাইনি...”
বাপন আর কখনও গ্রামে ফেরেনি। সে পরে সাংবাদিকদের জানিয়েছিল, সেই রাতের অভিজ্ঞতা তাকে আজও তাড়া করে বেড়ায়।
হারাধন কাকার ব্যাখ্যা
গ্রামের বৃদ্ধ হারাধন কাকা জানায়, সেই নারীর নাম ছিল কুন্তলা। সমাজের চাপে একদিন সে শ্মশানে আত্মাহুতি দেয়। বলা হয়, তার আত্মা আজও খুঁজে ফেরে তার যন্ত্রণার প্রতিশোধ। কেউ যদি রাতে তার চুল্লির ধারে আসে, তাকে সে ভুলিয়ে নিজের যন্ত্রণার অংশ বানায়।
শেষ কথা – শ্মশান ঘাটের ভয়ংকর ইতিহাস
আজও চণ্ডীপুরের সেই শ্মশান ঘাটে কেউ রাতে পা দেয় না। গ্রামের ছেলেমেয়েরা বড় হয় এই গল্প শুনে, আর শহরের লোকেরা আসে ভিডিও করতে—কিন্তু কেউ ফিরে যায় না আগের মতো। এই বাংলা ভূতের গল্প শুধু একটি গল্প নয়—এটি একটি সতর্কবার্তা।
আপনি কি সাহসী? আপনি কি নিজে গিয়ে দেখতে চান সেই শ্মশান ঘাট? মনে রাখবেন, প্রতিটি শ্মশানের আছে তার নিজস্ব ইতিহাস, আর কিছু ইতিহাস না জানা থাকলেই ভালো।
বাংলা ভূতের গল্প,ভৌতিক গল্প, শ্মশান ঘাট, ভূতের অভিজ্ঞতা, ভূতের গল্প বাংলা, ভয়ংকর বাংলা গল্প, The Mysterious Night at the Cremation Ground
In the fog-drenched hills of Northern England, there stood an abandoned house known only as "Whistler's Hollow." Locals avoided it, whispering tales of madness and death that clung to it like ivy. The house had stood empty for decades—its windows shattered, its roof sagging, and its blackened chimney looking like a finger pointing toward the sky.
For Emily Radcliffe, a rising young photographer from London, the house was a perfect subject for her latest project on "decay and memory." Ignoring the warnings from the villagers in nearby Elmsbridge, she drove to the Hollow alone one grey afternoon in October.
From the moment she stepped out of her car, she felt it—the silence. It wasn’t the quiet of nature, but something else, something deliberate. The air felt heavy, as if the house itself was holding its breath.
With her camera slung over her shoulder, she stepped inside. The wooden door creaked like a scream held too long. The house smelled of wet earth and mold. Dust danced in the shafts of cold light that filtered through broken glass.
She began to take photos—of the staircase that curled like a serpent upward, the fireplace lined with ancient soot, the cracked mirror in the hall that reflected everything but her.
That was the first sign.
At first, she thought it was a trick of the light. But when she stood in front of the mirror, raising her camera, her reflection didn’t move. It stared back, slightly out of sync, a smirk forming on its lips a second before her own did.
A chill rolled down her spine.
"Just the atmosphere," she muttered, trying to convince herself. "Old houses are full of strange reflections."
She continued deeper into the house. In what remained of the living room, she found a child’s toy—a porcelain doll missing one eye. She took a photo of it, then heard something faint behind her.
A whisper.
She turned quickly. No one. But the whisper came again, closer this time. Words she couldn’t quite make out, spoken in a rasp that sounded wet and broken.
"Who’s there?" she called, her voice more defiant than she felt.
No answer. Just a giggle, distant but wrong—too cold, too calculated.
She gripped her camera tighter and ascended the stairs. They groaned beneath her weight, almost as if protesting her presence. At the top was a long hallway of closed doors. She tried the first—it was locked. The second creaked open, revealing a child’s bedroom untouched by time. The wallpaper peeled in long, curling strips. Stuffed animals were scattered across the bed.
On the wall, scrawled in something dark, were the words: “Still here.”
Emily raised her camera, but it wouldn’t click. The battery, fully charged that morning, was suddenly dead. She checked her phone—black screen. No signal. No power. Nothing.
The whisper came again, this time from behind her.
She spun around. The hallway was empty, but the door at the end was now ajar. Heart pounding, she walked toward it, each step echoing like thunder. She pushed the door open.
Inside was a study, its walls lined with decaying books. An old desk sat under a curtained window. A single candle flickered on its surface, though no wind stirred. No one had lit it.
Then she saw the journal.
Its cover was bound in cracked leather, initials faded: A.B.
She opened it. The entries were frantic, rambling, the handwriting deteriorated with each page.
"The whispers never stop. They come at night, and now during the day. They speak in voices I know—my wife, my son, but they are dead."
"I tried to leave, but the house won’t let me. Every door leads back here. Every window shows only fog."
Emily turned the page. The final entry read:
"If you're reading this, it already knows you're here."
The candle extinguished.
The temperature dropped sharply, her breath turning to mist. Something moved in the corner of her vision—a shadow, quick and low. She turned toward the door and saw it was no longer there. The wall was solid.
Panic surged through her. She began pounding on the walls, screaming, but her voice was swallowed by the silence.
Then came the scratching. From within the walls. Like nails. Or claws.
She backed away until she hit the desk. The whisper returned, now inches from her ear.
"Emily..."
She turned, tears brimming in her eyes. Nothing. Just the empty room.
And then she saw herself—standing in the mirror behind the desk. But it wasn’t her. The reflection smiled wide, unnaturally wide, its eyes hollow. It lifted a finger and pressed it to its lips.
Shhh.
Emily screamed.
She woke up lying on the floor, the morning light piercing the grime-coated windows. Her camera sat beside her, battery inexplicably full. Her phone was charged. The front door was open.
She ran. She didn’t stop until she reached Elmsbridge.
The villagers saw the look in her eyes and said nothing. They had seen it before.
Emily never returned to Whistler’s Hollow. But sometimes, when she looks into a mirror, she catches a glimpse of a smile that isn’t hers… and hears a faint whisper in the back of her mind:
Everyone in the village of Elmsworth knew about the house on Hollow Hill. It wasn’t just abandoned — it was avoided. Children were warned not to wander near it, and old-timers would cross themselves when its name was mentioned. People said the house had been cursed ever since the Wilkins family vanished one stormy night forty years ago.
But for seventeen-year-old Maya, curiosity always won over caution. She had heard the stories, yes, but stories were just stories. She didn’t believe in ghosts. Besides, she needed a subject for her final photography project, and the old Victorian house with its crumbling windows and overgrown yard was perfect.
One foggy afternoon, camera in hand, Maya climbed the steep path to Hollow Hill. The house stood like a forgotten relic of another time — paint peeled from its wooden frame, and the iron gate swung with a long, sorrowful creak in the wind. The silence was so heavy, it seemed to press against her ears.
She stepped inside.
The air was thick with dust and something else — something damp and sour, like decay. The floors groaned beneath her feet as she made her way through the entrance hall. Tattered wallpaper peeled in long strips. Cobwebs hung like curtains from the ceiling. But her camera captured everything beautifully: the eerie beauty of abandonment.
As she climbed the stairs, she heard a sound.
Tap. Tap. Tap.
She froze. It was coming from the end of the hallway. A door stood slightly ajar.
Maya swallowed her fear. Just the wind, she told herself. She pushed open the door.
Inside was a child’s bedroom. A small wooden rocking horse sat in one corner, and faded wallpaper with dancing bears covered the walls. In the center of the room, a little girl sat with her back to Maya. Her black hair was matted and tangled, and she wore a tattered white dress. She was gently tapping something against the wooden floor.
Tap. Tap. Tap.
Maya’s breath caught. "Hello?" she whispered.
The girl stopped tapping.
Slowly, she turned around.
Her eyes were solid black.
Maya stumbled backward, tripping over the threshold. She scrambled to her feet and ran down the hall, down the stairs, through the entrance, and out into the fog. She didn’t stop until she reached the safety of the village.
No one believed her. Her photos showed only empty rooms.
But Maya couldn’t forget the girl’s face — pale as bone, with eyes that looked like deep wells into something ancient and wrong.
Maya didn’t sleep that night.
At 3:17 AM, she awoke to the sound of tapping.
Tap. Tap. Tap.
It came from her window. Slowly, she turned her head.
The girl was standing there, outside her second-floor window, her black eyes locked on Maya's.
The window shattered inward.
The girl vanished.
The next morning, Maya’s mother found her unconscious on the floor, a deep cut on her cheek. She said she must’ve fallen from bed and hit the nightstand. But Maya knew better.
Over the next week, things got worse. She saw glimpses of the girl in mirrors, in the corners of rooms, in shadows that didn’t belong. And always the tapping. It followed her — at school, on the bus, in the shower.
She returned to Hollow Hill.
She had to end this.
Armed with a flashlight and her camera, Maya made her way back to the cursed house. The air was even colder this time. She called out into the darkness, “What do you want?”
The tapping came again — this time from the walls around her. The sound moved, circling her like footsteps.
In the child’s bedroom, the girl stood waiting.
“I saw you,” Maya whispered. “Why are you following me?”
The girl blinked. And then, in a voice that sounded more like the rustling of dead leaves, she said, “Help me.”
Maya’s fear warred with something else — pity.
“What happened to you?” she asked.
The girl pointed to the closet.
Inside, Maya found a loose floorboard. She pried it up.
A small skeleton lay inside, curled up like a sleeping doll.
Tears stung Maya’s eyes. “Oh God… is this you?”
The girl nodded.
And then, around her, the house changed.
The walls bled shadow. Screams filled the air. For a moment, Maya saw them — the Wilkins family, terrified, trapped, as the house consumed them. A dark shape moved behind them, a shadow with glowing red eyes. It wasn’t just a haunted house — it was alive.
It had taken them.
The little girl looked at Maya and whispered, “He’s still here.”
A shadow fell over them both.
Maya turned and saw it — tall, thin, twisted, its eyes burning with ancient hate. It was the thing that fed on the house, on fear, on pain.
She ran.
This time, it chased her.
The walls stretched, the doors vanished, the house moved to trap her. But she held tight to the girl’s remains, bundled in her jacket.
She burst through the front door just as the shadow lunged.
Sunlight hit her face.
The creature shrieked and vanished.
Behind her, the house groaned. It shuddered like something alive and dying. Then, it was still.
Maya buried the girl in the village cemetery, under a tree that bloomed even in winter.
No one else ever saw the house again.
Some say it sank into the earth. Others say it still stands, hidden from view, waiting.
But Maya never forgot the little girl, or the thing that lived in the walls.
Sometimes, late at night, when the wind howls just right…
Marketing: Marketing Director Varun Gupta ( Max Marketing), TicketFactory (Akhilesh Vardhan, Suneeth Padolkar), Zee Studios Team, Saregama Team
Hindi Distribution By: AA Films
Overseas By: Phars Film Co. LLC
North America By: Shloka Entertainments
Game Changer Tamil Action Movie Full Reviews
Sure, Ram Charan can deliver a slow-motion shot like it’s no one’s business.
But are we REALLY, as a nation, now firmly at this point where we’re okay with that being good enough?
Nestled amid an endless battle for the seat of Andhra Pradesh chief minister, Game Changer Movie begins with a complex accident sequence, involving a caved road due to corruption, a dying man seeing visions of a woman and child, immense rain, outlandish theatrics, and general chaos. It's rapid, comes at you fast, and is a pretty clear promise of what’s to come. And indeed, does the film deliver.
Before the initial sequence has had a chance to end, and for the viewer to realize what’s happening, you're introduced to the swashbuckling hero Ram Nandan, a police officer beating up bald, cartoonish bad guys. I use the term “swashbuckling” because that’s just how outdated and tiring the stereotype is at this point. One of the idiots being beaten up is blinged out, upon asking ki itna chains kyun pehna hai, he responds with “I’m a YouTube star”. Ram replies, saying “I will show you some shorts”, and continues to beat him, no specific YouTube-related methodology is introduced into the beating. He is old-fashioned, but is trying to keep up.
Like a murderous, but hilarious old uncle.
Movies like Game Changer Movie are not meant for critique, nor are they meant for a discerning cinema audience. Films like this, where tropes, both harmful and lazy, are deployed for the lack of character development and screenplay, are designed to appeal to the sheep mentality among us. To the space we are likely to go sometimes, where “brain rot” feels interesting, to those who like to choose political leaders based on how popular they are. Its evident in sold-out screenings where the audience begins to holler and scream from the first frame, and keeps up the enthusiasm atleast until halfway through.
And look, I get it, I spent 30 minutes yesterday watching a girl eat different kinds of ice on her Instagram feed, I don’t want to be using my analytical brain at all times. But the fact that for comic relief, this Karthik Subbaraj story features hours of jokes about a guy named ‘Side Satyam’, who he exited his mother’s body sideways and only walks sideways because of that, is such a hardcore attempt to engage our fatigued minds, it’s almost impressive.
Not though for real.
Game Changer Movie isn’t lying about what it is — if the hero is a cop, it means social justice will be served exclusively outlandishly. Snap a finger, and a corrupt officer goes flying away? Sure, I’ll take it. I’ll even allow a sequence about a mall that doesn’t have adequate fire code adherence, though it's about to be demolished in 30 seconds, logon ki jobs aur dukaanein jaayein bhaad mein, sure. The film is loud, dumb, and stupid. However, the excessive hammering must ideally be part of the larger commentary, especially if you’re claiming to be a political thriller, don’t you think?
About 30 minutes into the film, when each sequence and unprovoked dance number begins to look like they could be the beginning, middle, or end of the film, who knows and who cares, your brain finally accepts defeat and is bludgeoned into submission. I don’t exaggerate, my Apply watch warned me about the loud environment, congratulations to sound designer T Uday Kumar for making even inanimate objects wake the fuck up and acknowledge. I only feel bad for the toddler, some wise parents had decided to bring this roaring, ear-splitting experience all of us chose to be a part of.
Game Changer Movie features an angry man, because which mainstream Indian movie doesn’t anymore lol, but is woke enough to also teach you anger management, lest we blame it for corrupting our soft, squishy mind. This is achiev,ed through an incredible song and dance number. Allow me to paint you a picture.
Ram has a new love interest Deepika, played by Kiara Advani,In who once again is a babe lost in the woods without her man. Deepika doesn’t like it when Ram gets angry. One afternoon, when he gets stopped by traffic police for jumping the signal and realizes the “no left turn” sign was broken, instead of unleashing his inner Hulk, I chooses to do a Bharatnatyam—gymnastics mashup on the street. Helpful text appears through the sequence telling you what to do when angry: “Dance, reduce spice in your food, and hurt yourself with a rubber wrist band, though that last one would potentially make me more angry.
Dadi mein ke nuskho se bhara yeh gaana should give you a pretty good idea of how smart this film takes its audience to be. Aur abhi toh mainey politics ki baatein shuru kari hi nahi hain.
2025, if you are making a film about murder, corruption, politics and dynasties, and family to go beyond “main CM bana mainey paisa liya”, you simply have no right to claim you're providing commentary of any sort. Even if one doesn’t anticipate the film to magically turn insightful, and Deepika to become more important than a thing of beauty to be looked at and protected, one DOES expect the villain to have an arc beyond “I will kill anyone who comes in my way”. SJ Surya as Mopi Devi, the man vying for the top job plays this corrupt power hungry politician with the finesse of an over-enthusiastic Raavan at your local staging of Ramayan, which considering everything in front of you, is not really out of sync with the tone of the film. But 3 hours it is way too much.
There is so much and so little going on in Game Changer at any given point in time, I sort of tuned it out, and started wondering why Ram Charan looks like he’s perpetually under the ‘Paris’ filter on Instagram. Skin smooth like a freshly bloomed flower. I wondered who thought of using the literal word “culture” pop on screen as the lead actors are about to kiss, and push them apart? Gone are the days of the rose, or the boiling milk, the era of intellectual decay mainstream Indian cinema seems to be going through, requires movies to QUITE LITERALLY spell out what is being conveyed.
As the climax sequence played out, which is just a vague idea of what a fight between SUVs and JCBs would look like, I did try to consolidate how this film had made me feel. A film that insists EVERYTHING is epic, ensuring actually nothing is. And truly, all I could come up with just admiration at how good Ram Charan is at slow-motion acting.
Game Changer Tamil Movie Full Trailer | Ram Charan
If that’s good enough for you, Game Changer is now in movie theatres.
So, on a scale of 1 to 10, Game Changers Movie is….24 hours before I watched this film, I was at an event talking with Guy Pearce about ‘The Brutalist’. My life, like IPS Ram, is also unpredictable.
Dharma Productions, Cape Of Good Films & Leo Media Collective present . A Dharma Productions Film.
Kesari Chapter 2 - The Untold Story Of Jallianwala Bagh.
Starring Akshay Kumar, R. Madhavan & Ananya Panday.
Directed by Karan Singh Tyagi.
Produced by Hiroo Yash Johar, Aruna Bhatia, Karan Johar, Adar Poonawalla, Apoorva Mehta, Amritpal Singh Bindra & Anand Tiwari.
Co-Produced By Marijke deSouza, Somen Mishra, Vedant Baali.
Written by Karan Singh Tyagi & Amritpal Singh Bindra.
Kesari Chapter 2: Akshay Kumar Returns in a Gripping Courtroom Drama Based on Jallianwala Bagh Massacre
Release Date: Coming to Theatres Later This Month
Get ready for one of the most anticipated Bollywood releases of the year — Kesari Chapter 2, starring Akshay Kumar, Ananya Panday, and R Madhavan, is all set to hit theatres later this month. Backed by Dharma Productions, this historical courtroom drama promises to deliver a powerful story rooted in one of India’s darkest chapters.
🎥 Trailer Out Now
Following the buzz created by a bold teaser, the official trailer for Kesari Chapter 2 has now been unveiled. The film dives deep into the aftermath of the Jallianwala Bagh massacre, an event that changed the course of India’s freedom struggle.
Watch the trailer on Dharma Productions' official YouTube channel and witness history come alive with intense performances and gripping drama.
📜 Based on a True Story: The Legal Battle After Jallianwala Bagh
Set in the wake of the Jallianwala Bagh massacre on April 13, 1919, the film centers around a landmark court case that challenged the British Raj. At the heart of the story is lawyer Sankaran Nair, played by Akshay Kumar, who dares to sue the British Empire, accusing it of genocide in Amritsar.
The massacre, ordered by General Dyer, led to the deaths of at least 1,650 unarmed civilians, making it one of the most brutal atrocities in colonial history. Kesari Chapter 2 brings this forgotten legal battle to light — one man’s courageous stand against an empire.
🌟 Star-Studded Cast
Akshay Kumar as Sankaran Nair, the fearless lawyer
Ananya Panday in a dramatic new avatar
R Madhavan delivering another powerful performance
Together, they recreate a pivotal moment in India’s fight for justice, truth, and independence.
🎬 From the Makers of Historical Epics
Dharma Productions, known for films like Raazi and Kesari, returns with a gripping courtroom thriller that combines emotion, history, and resistance. Directed by Karan Malhotra, Kesari Chapter 2 is not a direct sequel to the 2019 war film, but it shares the same spirit of valor, sacrifice, and patriotism.
📅 Don’t Miss the Release
Kesari Chapter 2 will be released in theatres later this month. With a timely subject, stellar performances, and a compelling real-life story, this film is a must-watch for history lovers and cinema fans alike.
Stay tuned for more updates, reviews, and behind-the-scenes insights as we get closer to the release.
Akshay's character questions the perpetrator of the massacres, General Dyer, who falsely claims that the crowd inside Jallianwala Bagh was full of terrorists and was armed to the teeth. “What weapons did you see in the hands of eight-month-old babies? Their kadas? Or their clenched fists?” Sankaran Nair demands to know, as he faces off against R Madhavan’s Neville McKinley, who is representing the British Empire. Ananya Panday also appears as a lawyer in the film.
In the years since the massacre, there have been demands for an apology from the British government. In 2019, British Prime Minister Theresa May expressed her regret for the massacre but did not issue an apology for it. Previously, the 2021 film Sardar Udham, directed by Shoojit Sircar and starring Vicky Kaushal, was also based on the Jallianwala Bagh massacre. The acclaimed film followed Udham Singh’s attempt to assassinate Michael O’Dwyer, who was the Lieutenant Governor of Punjab in 1919.
Writers: Guy Busick, Lori Evans Taylor, Jon Watts.
Stars: Tony Todd, Brec Bassinger, Richard Harmon.
Final Destination Bloodlines (2025) Movie Full Review
The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice—“Final Destination Bloodlines.”
Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle and save her family from the grisly demise that inevitably awaits them all. “Final Destination Bloodlines” stars Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Anna Lore, with Brec Bassinger, and Tony Todd.
The film is directed by Adam Stein & Zach Lipovsky. The screenplay is by Guy Busick & Lori Evans Taylor, and story is by Jon Watts and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick. “Final Destination Bloodlines” is produced by Craig Perry, Sheila Hanahan Taylor, Jon Watts, Dianne McGunigle and Toby Emmerich. The executive producers are David Siegel and Warren Zide. The behind-the-camera talent includes director of photography Christian Sebaldt and production designer Rachel O’Toole. The film is edited by Sabrina Pitre. The music is by Tim Wynn. The costumes are designed by Michelle Hunter. The casting is by Rich Delia.
New Line Cinema presents A Practical Pictures / Freshman Year / Fireside Films Production: “Final Destination Bloodlines.” The film will be distributed in theaters and IMAX worldwide by Warner Bros. Pictures, in theaters only nationwide on May 16, 2025, and internationally beginning on 14 May 2025.
"Final Destination: Bloodlines" is the sixth installment in the "Final Destination" horror franchise, scheduled for release on May 16, 2025. The film follows college student Stefanie Lewis, portrayed by Kaitlyn Santa Juana, who is plagued by violent recurring nightmares. These nightmares lead her to return home in search of someone who can help break the cycle and save her family from an impending grim fate.
The narrative delves into a family curse originating from Stefanie's grandmother, Iris Campbell (played by Gabrielle Rose), who narrowly escaped death in a tragic accident during the 1960s. This act of evasion has caused Death to target their family lineage, systematically eliminating those who were meant to die and now pursuing their descendants.
The film features the return of Tony Todd as William Bludworth, a character known for his deep understanding of Death's design. This marks one of Todd's final screen appearances following his passing in November 2024.
Directed by Zach Lipovsky and Adam B. Stein, with a screenplay by Guy Busick and Lori Evans Taylor, "Final Destination: Bloodlines" aims to explore the origins of Death's intricate plans, offering audiences a deeper insight into the franchise's mythos.
The film is set to be released in theaters and IMAX nationwide on May 16, 2025, with international releases beginning on May 14, 2025.
Final Destination Bloodlines 2025 Movie | Official Trailer
Director - Prithviraj Sukumaran Producer - Antony Perumbavoor Producer - Gokulam Gopalan Production - Sree Gokulam Movies , Aashirvad Cinemas Pvt Ltd Writer - Murali Gopy DOP - Sujith Vaassudev Music - Deepak Dev Editor - Akhilesh Mohan Executive Producers - Suresh Balaje, George Pius Project Design - Prithviraj Productions Production Controller - Sidhu Panakkal Art Director - Mohandas Trailer Cuts - Don Max Chief Associate Director- Vava Creative Director - Nirmal Sahadev Sound Design - M R Rajakrishnan Finance Controller - Manoharan K Payyannur Action - Stunt Silva Costume - Sujith Sudhakaran Makeup - Sreejith Guruvayoor VFX Supervisor - Praveen Ghanta VFX - YFX Studios, Labyrinth Studios- Mumbai, Binary Circus, Paperplane, Ident, DTM YFX Producer - Huseini Barodawala SFX - Vishal Tyagi First Associate Director - Renith Ravindran Production Executives - Saji Joseph, Sethu Adoor Finance Manager - Basil M Babu Production Manager - Sasidharan Kandanassery Multilingual Dubbing Director -RP Bala DI - Annapurna Studios Colorist - Vivek Anand Still - Sinat Savier Design - Anand Rajendran (Illuminartist) Promotions - Poffactio
"L2 Empuraan" is a Malayalam action thriller directed by Prithviraj Sukumaran, serving as the highly anticipated sequel to the 2019 blockbuster "Lucifer." Released worldwide on March 27, 2025, the film continues the saga of Stephen Nedumpally, also known as Khureshi Ab'raam, portrayed by Mohanlal. The narrative delves deeper into Stephen's transformation from a political figure in Kerala to the enigmatic leader of a global crime syndicate.
Plot Summary:
The story begins with a harrowing depiction of the 2002 Gujarat riots, where a young Zayed Masood and his family seek refuge with Subhadra Ben, a compassionate political activist. Betrayed by her nephew Munna, they fall victim to a brutal massacre led by Balraj Patel. Zayed's parents and younger brother are killed, but Zayed manages to escape, only to be captured by an extremist group. En route to Afghanistan, he is rescued by Khureshi Ab'raam, who takes him under his wing and promises to help him seek vengeance.
In the present day, Jathin Ramdas, six years into his tenure as Kerala's Chief Minister, faces investigations for money laundering and financial scams. Amidst political turmoil, he resigns from the Indian Union Front (IUF) to form a new faction, IUF (PKR), aligning with the Akhanda Shakthi Morcha (ASM), led by Baba Bajrangi (formerly Balraj Patel). This alliance aims to exploit Kerala's political landscape for personal gain.
Meanwhile, intelligence agencies worldwide are tracking the activities of Khureshi Ab'raam. MI6 officer Boris Oliver and Interpol agent Robert McCarthy pursue the nexus, leading to a series of confrontations that reveal Ab'raam's opposition to drug trafficking and his strategic eliminations of rivals.
Back in India, journalist Govardhan seeks information on Stephen Nedumpally's whereabouts, leading him to New York City, where Stephen, now fully embracing his identity as Khureshi Ab'raam, assures his eventual return to Kerala. After orchestrating the downfall of the Kabuga syndicate in Iraq, Stephen fakes his death to mislead his adversaries.
In Kerala, Priyadarshini, Jathin's elder sister, becomes a prominent figure opposing controversial developments in Nedumpally. After surviving an attack, she is persuaded by Stephen to step forward as the IUF's new candidate for Chief Minister. Stephen kidnaps Jathin, compelling him to support Priya's political ascent. Subsequently, Stephen and Zayed confront and eliminate Balraj and Munna at the site of Zayed's family's massacre, fulfilling Zayed's long-awaited revenge.
With Balraj and Munna dead, Priya officially launches her political campaign. Stephen gives Jathin an ultimatum to support Priya or face death. Jathin reluctantly agrees but is killed in a helicopter explosion orchestrated by Stephen. The film concludes with Stephen receiving a call from the leader of the Shen Triad, an Afro-Chinese crime syndicate allied with Kabuga, hinting at future conflicts.
Production and Reception:
Filming for "L2 Empuraan" commenced in October 2023 and concluded in December 2024, spanning various locations in India, the United Kingdom, the United States, and the United Arab Emirates. The film was released in multiple languages, including Hindi, Kannada, Malayalam, Tamil, and Telugu, and became the first Malayalam film to be released in IMAX. Despite controversies upon its release, it received positive reviews from critics and emerged as the highest-grossing Malayalam film of all time, as well as the second-highest-grossing Indian film of 2025.
Controversies:
Upon its release, "L2 Empuraan" faced criticism from right-wing political groups, particularly regarding the portrayal of the 2002 Gujarat riots and the character Baba Bajrangi, which some viewers interpreted as a reference to Babu Bajrangi, a convicted felon involved in the riots. The film's depiction of these events sparked debates and led to edits, reflecting the polarized reactions across political and social spectrums.
Overall, "L2 Empuraan" delves into themes of political intrigue, revenge, and the transformation of its central character, offering a gripping narrative that expands upon the foundation laid by its predecessor, "Lucifer."
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