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Vetri Maaran announces the title of his next film with Suriya. Details inside.

Director vetri maaran, at a recent event, announced the title of his upcoming film with actor suriya..

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As Suriya is going through a rough phase in his career, he is looking for promising scripts to redeem himself. He has pinned his hopes on his upcoming film Soorarai Pottru, directed by Sudha Kongara Prasad. The film is based on the life of Air Deccan founder GR Gopinath.

A few weeks ago, Suriya caught us by surprise when he announced that he has teamed up with Vetri Maaran for his next film. At a recent award show, director Vetri Maaran announced the title of his film with Suriya. He said that his film has been titled Vaadi Vaasal.

Vaadi Vaasal will be produced by Kalaipuli S Thanu under his own banner V Creations. Back in 2017, he had secured the rights of a literary novel titled Vaadi Vaasal, written by Tamil writer CS Chellappa. The film is said to be based on Jallikattu sport, practised in Tamil Nadu.

Reportedly, Vetri Maaran will begin Vaadi Vaasal only in the second half of 2020. He has earlier signed a film with actor Soori, which is based on a poem written by late Na Muthukumar. After wrapping up this film, he will begin work for his next film with Suriya.

Vaadi Vaasal will have music scored by GV Prakash, who hit jackpot with Asuran. The composer took to Twitter to confirm the news and wrote, "#GV75 Yes my 75th film as a composer is with my most successful director combination @Vetrimaaran ... with @Suriya_offl sir as lead ... produced by Thanu sir @theVcreations #GV75withSuriyaVetriVcreations (sic)"

As soon as Vetri Maaran made the big announcement, it has sent fans into a frenzy. Vaadi Vaasal is already becoming one of the most anticipated films of this year.

ALSO SEE | GV Prakash to compose for Suriya's 40th film, directed by Vetri Maaran

ALSO SEE | Suriya and director Vetri Maaran to team up for a film, confirms producer Thanu

ALSO WATCH | Suriya opens up about his upcoming sci-fi thriller 24

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Vetrimaran's 'Viduthalai' to release in two parts

The film's grandeur has been generating a strong buzz. Only recently, a train and Railway bridge set worth Rs 10 crore was erected for the film.

CHENNAI: Ace director Vetrimaran's eagerly-awaited upcoming film,'Viduthalai', featuring Soori in the lead and actor Vijay Sethupathi as 'Vaathiyaar', will release in two parts, its makers have now announced.

Interestingly, both parts of the film -- 'Viduthalai-1' and 'Viduthalai-2' -- are to be presented by actor, producer and politician Udhayanidhi Stalin's production house, Red Giant Movies.

The shooting of 'Viduthalai-1' has already been completed and post-production work is on in full swing. Only a few portions are left to wrap up the shooting of 'Viduthalai-2', which is currently happening in Sirumalai and Kodaikannal.

Produced by RS Infotainment's Elred Kumar, the 'Viduthalai' franchise is being made on a whopping budget.

The train compartments as well as the bridge were made using the same materials that engineers use to manufacture trains and build bridges.

Earlier, the art department headed by Jackie had erected a huge village set in Sirumalai.

The makers of 'Viduthalai' say that it is an intense story that needs proper storytelling to make sure it appeals to the audience. It is for this reason that they say they decided to break the story into two different parts.

Currently, preparations for shooting a breath-taking action sequence between Vijay Sethupathi and Soori are going on in Kodaikanal. Peter Hein is choreographing this action sequence in which a group of proficient stuntmen from Bulgaria will be a part.

The star cast of 'Viduthalai' includes Vijay Sethupathi, Soori, Bhavani Sre, Prakash Raj, Gautham Vasudev Menon, Rajeev Menon and Chethan. Maestro Isaignani is composing music for 'Viduthalai', which features cinematography by Velraj.

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• Vetrimaaran begins final schedule of 'Viduthalai' with Soori and Vijay Sethupathi

Vetrimaaran begins final schedule of 'Viduthalai' with Soori and Vijay Sethupathi

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Vetrimaaran and Dhanush are two of the most promising names in the Tamil film industry right now. With back-to-back films that are turning out to be both critical and commercial successes, Vetrimaaran has already become one of the biggest names in the country. On the other hand, Dhanush continues to excite his fans by coming up with projects cutting across language lines. Now, the star director and actor are reportedly planning to join hands for the fifth time with a movie set in the backdrop of Kolar Gold Fields (KGF).

While responding to a question on what his upcoming flick Thangalaan (Dir. Pa Ranjith) was based, producer K E Gnanavel Raja of Studio Green told Behindwoods: “Vetrimaaran is set to begin working on a film about KGF with Dhanush in the lead. Vetrimaaran’s film will be based on his research and findings about the area, while Pa Ranjith’s Thangalaan will focus on his discoveries. Both films might have certain elements that are similar, but what matters is how they present these things from their respective points of view.”

Since Vetrimaaran’s debut as a director in 2007 with the Dhanush starter Polladhavan, the filmmaker and the actor have joined hands multiple times, also for bankrolling films.

Following Polladhavan, Dhanush played the lead role in three more Vetrimaaran films — Aadukalam (2011), Vada Chennai (2018), and Asuran (2019) — all of which went on to become milestone films in Tamil cinema history. Dhanush’s National Film Awards for Best Actor were for his roles in Vetrimaaran movies — Aadukalam and Asuran.

Kaaka Muttai (2015) and Visaranai (2015) which the two produced had also bagged National Film Awards in Best Children’s Film and Best Feature Film in Tamil categories, respectively.

While Dhanush is currently working on Arun Matheswaran’s Captain Miller, Vetrimaaran’s Suriya starrer Vaadivaasal is in its pre-production stage.

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Every Vetrimaaran Movie Ranked and Where to Watch Them

Published on.

Shaurya Singh Thapa

Official JustWatch writer

Known for his gritty crime dramas, underdog heroes, and numerous collaborations with actor Dhanush , Vetrimaaran has established himself as one of Tamil film industry’s leading directors.

If you wish to know more about the Asuran and Vidhuthalai director’s filmography, we have got you covered with a complete streaming guide that leads you to all of Vetrimaaran’s movies and information you need on where to stream them online.

Which Vetrimaaran movies should I watch first? 

The best way to watch Vetrimaaran’s movies is in the same order as their release date, as this sequence would show how the director has only improved in his craft with every passing movie. Vetrimaaran made his directorial debut in 2007 with the action thriller Polladhavan . Dhanush played the lead character, a man whose fate changes after he buys a bike and later gets it stolen. Opening to rave reviews for Dhanush’s acting and Vetrimaaran’s directing, the movie spawned numerous remakes in other languages and popularised the Bajaj Pulsar (the bike featured in the movie) among Tamil youths.

The director and actor joined forces again for the drama Aadukalam . The 2011 hit found Dhanush’s protagonist embroiled in an unattainable romance and a rooster-fighting business. The movie earned Vetrimaaran a National Award for Best Director and Best Screenplay.

While Vetrimaaran’s first two movies addressed social themes like an economic class divide, his political themes got more evident in his third film: a police thriller titled Visaranai (also released as Interrogation). The gruelling social drama revolves around the fates of two men who are forced to confess to a crime after they are locked up by the cops. The film won a National Award for Best Tamil Film and also opened much debate and discourse over the ethics of the police force in Tamil Nadu.

Visaranai’s success opened the avenues for more ambitious projects like the period gangster epic Vada Chennai , yet again starring regular collaborator Dhanush. The movie charts an underdog’s journey between rival criminal factions in a fishing community in ‘70s-era South Chennai. Vada Chennai ended on a nail biting cliffhanger, teasing the possibility of a sequel that fans still await.

With Dhanush already starring in several anti-caste dramas, Vetrimaaran cast him again in Asuran. Addressing the oppression faced by marginalised castes, Asuran starred Dhanush as a hot-headed lower-caste youth who kills an oppressive upper-caste landlord. The ensuing chaos made for a violent, powerful, and relevant watch. As is the case with many Vetrimaaran films, Asuran also earned the National Award for Best Tamil Film. 

Why is Vidhuthalai Part 1 Vetrimaaran’s best movie to watch? 

Intending to direct a two-part saga next, Vetrimaaran directed Vidhuthalai Part 1 . Set in the 1980s and inspired by real-life politics of the era, Viduthalai explores the conflict between the police and a separatist group. However, neither side is good or bad as Vetrimaaran’s story explores the morally grey areas of the policemen and their atrocities as well. Boasting impressive performances by Vijay Sethupathi and Soori, Vidhuthalai is a gripping political thriller.

Where can I watch the best Vetrimaaran movies online? 

Below you can find the latest streaming information for every Vetrimaaran movie. This includes every offer for viewers in India today.

Viduthalai: Part I

Kumaresan, a police constable, gets recruited for an operation implanted to capture Perumal Vaathiyar, who leads a separatist group dedicated to fighting against the authorities for committing atrocities against innocent village women in the name of police interrogations.

Vada Chennai

A young carrom player in North Chennai becomes a reluctant participant in a war between two feuding gangsters.

The teenage son of a farmer from an underprivileged caste kills a rich, upper caste landlord. How the pacifist farmer saves his hot-blooded son is the rest of the story.

Pandi and his friends, immigrant workers in Andhra Pradesh, are picked up by cops for a crime they never committed. And thus begins their nightmare, where they become pawns in a vicious game where the voiceless are strangled by those with power.

Pettaikaaran is famous in his town for an impeccable track record of successes in rooster fights. When one of his aides, Karuppu, goes against his word in a fight, it leads to an enmity between them.

Polladhavan

Prabhu is dejected when he learns that his bike has been stolen. He decides to find the people who stole the bike, but lands in trouble when he realises that his bike has been used to transport drugs.

Every Vetrimaaran Film Ranked

Tamil filmmaker Vetrimaaran belongs to one of those breeds of director whose tight scripts, apt casting, and realistic treatment of storyline has made fundamental changes to the very nature of mainstream filmmaking. His films are made for a multi-cultural audience and backed by the strength of their storytelling and sculpted dialogue, which has reinvigorated the art of popular cinema with a breath of fresh air.

Related Read to Vetrimaaran Films: Every Lijo Jose Pellissery Film Ranked

Each of the films is imbued with a powerful, coherent aesthetic that guides viewers through a dark matrix. At its best, it augments a captivating narrative and sinks viewers into a world of social realism of rural Tamil Nadu. Even urban reality is being depicted showcasing more fallible and life-like characters. The cinema of the carnivalesque with its larger-than-life characters, melodramatic orientation and highly romanticized canvas is something that does not whet his appetite for creativity.

With a filmography of five features and one short film as a director, he has earned his reputation as the most one of the most accessible filmmakers of the last decade. His style involves artistically thriving with a soothing pace lending itself to an atmospheric work filled with oneiric undertones. Some viewers may find his films brutal and gut wrenching as it gets; yet, despite its ruthless depiction, it’s also surprisingly heartwarming.

5. Polladhavan (2007)

Vetrimaaran’s debut feature film opens up with a gruesome and brutal fighting sequence and then using the device of flashback, the filmmaker takes us into the dynamic world of contemporary Chennai, where an educated young man, Prabhu ( Dhanush ) fight injustice and in the process is forced to unleash the animal within him.

Also, Read: Every Sriram Raghavan Film Ranked

The protagonist of the film is an uneducated youth who due to turn of events confronts his father (Murali) and an argument regarding the responsibilities of parents towards their offspring ensues. As a result of this conflict, Prabhu gets a hefty amount from his father and he uses the money to purchase a Bajaj Pulsar bike. This appears to be a wise investment because owning the vehicle enables him to get a job and earn respect in society. But the situation takes a drastic turn when a gang of anti-socials steals his bike. Thereafter the film presents the viewers with the transformation of resilience into power and its hold over the life of an individual’s struggle to maintain his position in the harsh reality of everyday life.

The plot of the film has similarities with Wang Xiaoshuai’s Bejing Bicycle (2001). But the well worked out mise-en-scenes of Polladhavan makes it an entertaining tale of a casual urban carefree person’s conversion into a person of genuine worth and true dignity. Polladhavan was remade in Kannada as Punda, in Telugu as Kurradu starring Varun Sandesh, in Sinhala as Pravegeya, in Bengali as Borbaad (2014) and in Hindi as Guns of Banaras (2020). But none of them could achieve the excellence earned by the original version.

4. Visaranai (2016)

Based on the Tamil novel Lock Up by M. Chandrakumar, Vetrimaaran’s third outing in its first half has such brutal scenes of police torture that one could genuinely feel the bestial act of police torture. The viewers are compelled to cringe as well as empathize with the plight of four helpless souls. The narrative of the film can be divided into two sections-before and after the intermission. Four migrant workers are falsely accused in a burglary case that has taken place at a rich and affluent man’s bungalow. The police beat these four characters in black and blue and want them to confess. Not able to withstand the pain they agree to accept the charges. Once they are produced in the court the narrative of the film takes a twist and the viewers are presented with one shocking surprise after the other.

Related Read to Vetrimaaran Films: Salt Of The Earth (1954) : A Landmark American Independent Cinema On The Working Class  

The filmmaker displays superb craftsmanship and commitment to an engaging dramatic tale that ends in a tragedy. The film subtly depicts that the characters in the film become a victim because of the system that protected the criminal over the accuser. It is a deeply troubling film that is devoid of cathartic and healing moments. Vetrimaaran does not feel hesitant in constructing the brutal scene with ease and he is neither afraid to carve out its own unique style.

The film had its world premiere at the 72nd Venice International Film Festival, where it won the Amnesty International Italia Award. Back home it had won three National Film Awards- Best Feature Film in Tamil, Best Supporting Actor and Best Editing.

Watch Visaranai (2016) on Netflix

3. asuran (2019).

What becomes the last resort for a farmer who goes on the run with his family as he is compelled to protect his son, who has murdered a wealthy upper-caste landlord in a fit of vengeance? The reply should be to fight with the oppressing forces and reclaim his identity. That is exactly what Sivasaami (Dhanush) does to break away from the uncomfortable social status he has inherited. Based on the novel Vekkai by Poomani, Vetrimaaran’s screen adaptation is so watertight that every occurrence in the screenplay feels alluring.

Related Read to Vetrimaaran Films : Asuran (2019) Review: Rise, Asuran, Rise!

With Asuran Vetrimaaran continues his excellent cinematic flair as a director enhancing his commendable grasp on the tropes of mainstream cinema. The film also benefits from technical polish – the cinematography, background score and editing are all top-notch. Asuran too has gut-wrenching violence and prepares the viewer for the edge-of-seat tension. The narrative follows a rhythm where the plot is revealed without wasting much of the screen time. The film belongs to the genre of revenge saga told from the perspective of a lower caste protagonist.

It’s one of those mainstream films that fulfill a social purpose, for it’s hard to imagine anyone viewing Asuran and not abhorring the evil practice of casteism in our country and how it voluntarily degrade human values and status. At the Norway Tamil Film Festival Awards, 2020, Vetrimaaran won the award for best director. The film had won two National Film Awards- Best Feature Film in Tamil and Best Actor.

Read the Complete Review of Asuran (2019) Here

Watch asuran (2019) on prime video , 2. vada chennai (2018).

A tale of criminal activities narrated in a non-linear pattern over the span of more than a decade is the perfect recipe for a crime sage. Vetrimaaran’s narrative takes the viewers on a journey that lasts for nearly a hundred and sixty-four hours and introduces them to the world of guilt, regret and vital decisions leading to loyalty turned into betrayal. The protagonist of the film Anbu (Dhanush) is an expert carrom player but his life gets entwined into the world of crime. He gets pulled into the vortex so deeply that penitence alludes to him after a point in time.

Related Read to Vetrimaaran Films : Top Tamil Movies of 2018 and Where To Watch Them

With a multiple cast the story of the film is set in the underbellies of North Chennai as the title of the film implies and the theme of the film is more nuanced than the conventional black-and-white morality tales where evil is punished by good at the end. The film blatantly showcases the graphic world of crime and violence, investigates the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. Vetrimaaran delves deeply into the minds of his tortured characters and explores how the men and women he depicts grapple with moral codes and their emotions.

He further engages with many of the most basic questions about our humanity and how we relate to one another in a complex world. The stylistic elements in the film earn comparisons, bearing marked connections to several of Vetrimaaran’s other films. The film won the Best Film (People’s Choice Award) at the Pingyao International Film Festival, 2018. At the Filmfare Awards South, Dhanush won the trophy for the Best Actor.

Read the Complete Review of Vada Chennai (2018) Here

Watch vada chennai (2018) on disney hotstar, 1. aadukalam (2011).

As the roosters combat in the arena with each other, it becomes a fight of the egos of the individuals who own the fowl. So, when Karuppu’s rooster emerges victorious he not only earns a lot of money but also the enmity of his boss Periyasamy (V. I. S. Jayapalan) and Rathnasamy (Naren). And from then onwards the life of our protagonist will be filled with one hurdle after the other as the tale of loyalty, self-esteem, deception, and honor unfolds.

Related Read to Vetrimaaran Films : 10 Great Tamil Movies You Can Stream On Netflix Right Now

In his sophomore, Vetrimaaran presents a varied cultural pattern of rural Tamil Nadu and uses realism, tradition, and contemporaneity, soaked in local flavor within the narrative structure of his tightly structured screenplay. The conflicts introduced within the plot points create tension by employing smart conventions that are able to sustain the viewer’s anticipation. The editing pattern of the film creates a commendable pace and multi-layered visual design that heightens the impact of the film. Though the filmmaker has openly admitted that he was inspired by the dogfighting scene of Amores Perros (2000), Vetrimaaran has infused his own style and poise within the film, which is anything by blatant copy.

Despite having strong content and potential for box-office success, filmmakers from another region could not dare to remake the film until now. The reason being the milieu of the film is so rooted in the soil of Tamil Nadu and that makes it the best film in the oeuvre of Vetrimaaran’s impressive career. At the 58th National Film Awards, the film won five awards-Best Director, Best Screenplay, Best Editing, Best Choreography and Special Jury Award for Acting.

Special Mention: Oor Iravu (2020)

Oor Iravu is a part of the Tamil anthology drama Paava Kadhaigal (2020). Owing to its shorter running time, I have included it in the category of special mention. On the surface level of its narrative, the film depicts the tale of a daughter Sumathi (Sai Pallavi) who had eloped from her village and now she has reunited with her father Janakiraman (Prakash Raj). But as the story of the film moves forward we discover the sensitivity and intricacies of the complex human psyche of individual characters within the film.

Also, Read: Paava Kadhaigal (2020) Netflix: Sinful Filmmaking under the Garb of Hard Hitting Social Drama

Vetrimaaran treated the film with a style that is bold and innovative with the choice of a subject in which the form and content merge into one. The pacing is not fast like his other films rather it is a slow study of how Sumathi’s drastic decision had impacted the lives of various members of his family. Vetrimaaran did not deviate from his usual style of narrative exploration but he has brought an understated rhythm to the unfolding of the events.

There is a kind of freshness in his approach and courage displayed in choosing to build a film around the brutal concept of associating the honor of the family with the sanctity of a woman. The film ends on a depressing note as we realize that such evil things are a reality and will continue to happen unless and until the evils of casteism are not obliterated from our society.

Watch Oor Iravu (2020) on Netflix

Vetrimaaran links : imdb , wikipedia, trending right now.

Dipankar Sarkar is a freelance writer on various topics related to cinema. His articles have appeared in Scroll, The Hindu, Livemint, The Quint, The Tribune, Chandigarh, Upperstall, and vaguevisages.com amongst others.

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Viggo Mortensen Talks Next Directorial Project After Western ‘The Dead Don’t Hurt’: ‘I Won’t Make a Movie Unless I Have Final Cut’

By Marta Balaga

Marta Balaga

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Viggo Mortensen is eyeing his next directorial project.

“It’s only indigenous languages, it has no white characters and there will be no movie stars – just lots and lots of horses. But I am convinced it will have wide appeal, because it’s a universal coming-of-age story about an adolescent boy,” he tells Variety .

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“The people who put up money are very conservative. It gets harder to retain creative control and I won’t make a movie unless I have final cut. This one’s complicated, but I know it will work. It’s just a question of convincing someone to invest in it.”

His determination echoes that of Kevin Costner, who recently admitted he “knocked on every boat in Cannes” trying to finance the third part of his “Horizon” saga.

“I know him, we have corresponded and I wished him luck. I hope ‘Horizon’ does well. Maybe it will mean people can make even more films in that genre,” he says.

With “The Dead Don’t Hurt,” Mortensen wanted to make a “classic, historically accurate” Western. But he also wanted to tell a story that hasn’t been told: not of a man who leaves to fight – this time in the American Civil War – but of a woman who stays. Vivienne, played by “Phantom Thread” breakout Vicky Krieps.

There were many “Viviennes” trying to survive in the West at that time, he argues.

“They had to be this way. It was definitely a lawless, wild society, but she isn’t some superhero, grabbing the gun and shooting all the bad guys.”

“I started writing this in 2020, during the pandemic, and the first image [I came up with] was that of a little girl, running around in a forest. It looked very much like the forest where my mother grew up, in the Northeast of the U.S. This mischievous character, independently minded and stubborn, was influenced by her. My mother was so curious about other people and cultures.”

Just like Mortensen, who was raised in Argentina and Denmark, and has been living in Spain. Although he wasn’t initially planning to do so, he ended up playing Danish immigrant Holger, who, before he enlists, convinces Franco-Canadian Vivienne to live with him in Nevada.

“I wasn’t consciously doing that, but maybe you are right. I may be partly speaking from my own experience,” he says.

“It was important to reflect what this society was back then. You hear different languages and accents [in the film], because unless you were an Indigenous person, a First Nation person, you came from all over the place.”

“Men from different countries decided to enlist in this effort, just like people from different countries were going to Spain in the 1930s or now to Ukraine. It happens. Even though they are not born there, they ‘adopt’ a country as their own.”

Mortensen starred, wrote, directed and produced the film alongside Regina Solórzano and Jeremy Thomas – he also composed the soundtrack.

“I did the music before we started to shoot. It sounds backwards, but I did it on ‘Falling’ too – by accident. I was waiting four and a half years to find the money to shoot and I just felt… restless. Later, I found it very useful as a guide in filming certain sequences. I don’t think I will do music on the next film I am doing, but I will keep an eye on it.”

The three-time Oscar nominee – for “Eastern Promises,” Captain Fantastic” and “Green Book” – has always been pursuing other interests, from painting to photography.

“There is nothing I can do about it. I just do things I am interested in doing and I like to share them, because it’s a way of communicating,” he states. But interesting roles keep coming his way.

“Obviously, I have been lucky. I didn’t have to run and do a job because I was running out of money, but I don’t care about genre or budget. I did Cronenberg’s ‘Crimes of the Future’ the same year I did my first studio movie in a very long time: Ron Howard’s ‘Thirteen Lives.’ It was supposed to come out in thousands of theaters around the world, but then Amazon bought MGM and they decided to stream it, which was sad. It’s one of his best movies.”

Eventually, if something is good enough, people discover it, he says. But it keeps getting harder for smaller films to get noticed.

“I was nominated for awards for ‘Captain Fantastic,’ but that movie, the writing and the directing could’ve had a lot more attention. ‘Falling’ was also a real shame, especially for Lance Henriksen [who plays a man coming to live with his gay son]. Here’s a guy who at that point has done 300 movies and he has never even been to Cannes. We were invited, and then it was cancelled [because of the pandemic]. He didn’t have that opportunity. I really feel sad about it.”

Still, he is not giving up anytime soon.

“With ‘The Dead Don’t Hurt,’ I did the best I could. I’ve never done that much work to promote a film, because the climate has changed so much after COVID. What Vicky does here, I haven’t seen a better performance in the last year or two, and I hope people will remember her by the end of the year. But unless you are a part of some big enterprise that has a lot of money to push it into voters’ faces, it’s difficult.”

After focusing on a female protagonist, Mortensen will now take on indigenous cultures. Which brings up a familiar question:

“‘Does he have the right to tell this story? Does he have a right to write about a woman?’ Why not? As long as it works,” he says.

“After ‘Falling,’ some journalists tried to provoke something. They asked me: ‘Do you regret playing a homosexual character? You are taking work away from gay actors.’ I said: ‘How do you know I am not homosexual?,’” he laughs.

“They said: ‘Are you?!’ Very excited, thinking there comes their headline. I replied: ‘None of your business.’ If you start going down that road, Daniel Day-Lewis should be condemned for ‘My Left Foot’ [where he played a man born with cerebral palsy]. It’s called acting.”

“In some cases, these are legitimate questions. Is there a limit to the roles we can play? But children don’t limit themselves: they can imagine being anything they want to be. We can’t forget it’s play.”

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Ranking All Vetrimaran Movies

1. Vada Chennai

2. Visaaranai

3. Aadukalam

5. Viduthalai: Part 1

6. Polladhavan

More to explore, recently viewed.

Disney Plus July 2024 Schedule: New TV Shows & Movies Lineup

By Mack Ashworth

The Disney Plus July 2024 schedule has been confirmed. This details all of the upcoming movies and TV shows launching on the streaming service for the new month.

All upcoming movies and shows on Disney Plus in July 2024

• Attack of the Red Sea Sharks
• Baby Sharks in the City
• Shark Attack 360 (S1, 8 episodes)
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For more entertainment content, here are ComingSoon’s reviews of A Quiet Place: Day One and Kinds of Kindness .

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Five International Movies to Stream Now

This month’s selections include a Japanese serial-killer thriller, a Pride Month pick from Sri Lanka, a Malaysian drama about undocumented street hustlers and more.

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By Devika Girish

‘If From Every Tongue It Drips’

Stream it on the Criterion Channel.

Part of the Criterion Channel’s ongoing Queersighted series, this debut feature by the Pakistani Canadian artist Sharlene Bamboat deploys cinema as a kind of metaphysical ferry: It moves irreverently across the boundaries between countries, languages and genres, and between image and text. Filmed in Batticaloa in Sri Lanka, scored in the Isle of Skye in Scotland, and edited in Montreal, Canada, the movie is in part a portrait of a lesbian poet, Ponni, shot intimately on video by her partner, Sarala.

Speaking in a mix of Tamil and English, Ponni meditates on notions of duality in quantum physics and Urdu poetry, and the history of British colonialism and protest art in South Asia. Onscreen captions by the group Collective Text offer not just linguistic translations but also sensory notations. Appearing in various parts of the screen, the text lyrically describes the sounds and moods of the film ( horn bleaaats ; flowing water gently laps the shore ), with different colors indicating different tenors. A layered, often prismatic experience, “If From Every Tongue It Drips” invites us to read, listen, see and think with extraordinary curiosity, embodying the questing thrill of queerness in form as much as content.

‘Lumberjack the Monster’

Stream it on Netflix.

Any new feature by the prolific Japanese director Takashi Miike should be celebrated as a cinematic event, and it’s a mystery that his latest has arrived on Netflix without a ton of buzz. “Lumberjack the Monster” is a gory serial-killer thriller that would be electrifying in a theater, though it is deliciously entertaining even on the small screen. A murderer dressed as a lumberjack is on the loose, bludgeoning a selective breed of victims — clinical psychopaths — and then stealing their brains. When he targets Akira Ninomiya (Kazuya Kamenashi), a ruthless lawyer with plenty of blood on his own hands, a three-way chase ensues between the two men and a forensic profiler, opening up an old, sinister case about a mad couple who experimented on children.

It’s a convoluted and pulpy script with some silly pop-psychologizing on evil and empathy, but in classic Miike fashion, the fun is in the style rather than the substance. The twists are thrilling, playing on the moral gray areas of all the characters; the action is directed with sleek, often gasp-inducing precision; and Kamenashi, with his perfectly shaped, dagger-like brows, is menacingly captivating onscreen.

‘Non-Aligned: Scenes From the Labudovic Reels’

Stream it on Ovid.

Between the mid-1950s and 1980, Josip Broz Tito, the President of what was then Yugoslavia, traveled by sea all over the world on diplomatic trips called “Voyages of Peace.” His cameraman, Stevan Labudovic, followed in tow. On sparkling celluloid, Labudovic captured Tito’s visits to Asia, Africa and the Middle East, and the birth of the Third World: an alliance of newly liberated and decolonized countries that chose to side neither with the United States nor the Soviet Union during the Cold War, and instead be “non-aligned.” For years, Labudovic’s newsreels would play before movie screenings in Yugoslavia, but since the breakup of the republic in 1992, his films have languished in a vault in Belgrade.

In “Non-Aligned: Scenes From the Labudovic Reels” — part of an ongoing project of digitizing and re-narrativizing this footage — the filmmaker Mila Turajlic digs into those archives, stitching them together into glimpses of a historical moment thrumming with promise. Contextualized by interviews with Labudovic, nearly 90 at the time, and Turajlic’s own reflections on growing up in the wake of Yugoslavia’s fall, the feature looks back through layers of history and beyond simplified narratives of success and failure. Together with “Ciné-Guerrillas,” another feature-length project by Turajlic drawing on footage shot during the Algerian War of Independence, “Non-Aligned” is a visually arresting inquiry into what it takes to envision a new world — and to implode those visions.

‘Adrishya Jalakangal’

The setting is South India. We are in the future — or maybe the past, or perhaps some other time entirely. War is on the horizon, or so the cops and the soldiers say, as they summarily arrest anyone wandering the streets and dump them at a mental asylum, where arrestees are told they’re insane and held for months before being released. Meanwhile, loud choppers traverse the skies, corpses mysteriously turn up at the local mortuary and migrant laborers are dispatched to a weapons factory that emits strange fumes. The allure of Dr. Bijukumar Damodaran’s dystopian drama, “Adrishya Jalakangal,” is how little exposition it provides. It drops us into its strange reality and has us follow a wacky electrician (Tovino Thomas) just released from the asylum after six months of unexplained detention.

He returns to the field of abandoned train cars where he lives, having turned one rusted coach into his home and workshop. But soon, he realizes that something has changed. Suddenly, he is able to speak with the dead, who tell him about all the ways in which the state is eliminating dissenting and vulnerable citizens under the pretext of a threat to security, and entrust him with a lifesaving mission. “Adrishya Jalakangal” is a whimsical (and visually delightful) yet gutting work of antiwar filmmaking. Abstraction is the movie’s strength: The playbook of war — fear-mongering, bloodlust, abuses of power — is the same everywhere, it suggests, and that madness may be the only sane response to its logic-defying violence.

‘Abang Adik’

One of the great pleasures of this Malaysian drama from Jin Ong is how slowly and carefully it shows us its cards, constantly unsettling our expectations. “Abang Adik” opens as a gritty underworld thriller, as Adik (Jack Tan), a young hustler with bleached blonde hair, narrowly escapes a raid on the immigrant workers he has helped to smuggle into Kuala Lumpur. The slightly older Abang (Kang Ren Wu), who cannot hear or speak, is more straight edge. He toils away at thankless jobs on the streets of the city, exploited daily by those who are better off than him. As these two arcs eventually intersect, the film reveals itself, at its core, as a kind of platonic love story.

We learn that Abang and Adik met as orphans; they lost their families, homes and identity papers as children, but found each other. They have lived together like brothers ever since, grinding away while a social worker tries to navigate a bureaucratic labyrinth to get them their documents. Then “Abang Adik” shapeshifts again. A tragic twist separates the pair and turns the movie into a seething meditation on fate, morality and the ways in which Malaysian society punishes the poor and undocumented for trying to survive. It’s a vividly directed film, full of rage and tenderness and pathos, anchored in a towering nonverbal performance by Kang.

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Let the speculation begin. The “Untitled Event Film” Warner Bros had dated for December 2026 now is being billed as a “ Denis Villeneuve Event Film,” and sources said the studio and Legendary are holding the date with expectations that he wraps up the spectacular trilogy with Dune 3 .

Hurdles still have to be cleared as they’re still working on script and locking cast, but it is the project Villenueve has been working on.

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Erik Pedersen and Patrick Hipes contributed to this report.

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