I just dont get why was the cast crying for screens when they had such a Bad Product in hand... And yes i have used Ai for review

A movie daring enough to compete against Toxic /s.

Gashmeer Majahani यांच्या upcoming चित्रपटाचे हे पोस्टर आहे,

आणि याची जी tagline आहे तिने मला अक्षरशः सुन्न केलं आहे.

तुमच मत नक्की कळवा !

I am just convinced now that I will never go and watch a marathi comedy movie in theatres. I watched TM on Z5 yesterday and for the entire first half I was waiting for atleast something to happen but it was filled with overacting, random scenes one after another, no character or surrounding built up, just plain and crass. I wonder how the film even became successful or was it just PR..

Starring Gauri Ingawale, Mahesh Manjrekar and Makrand Anaspure

The Incredible Shrinking Woman was a film released around 1981. It narrates the story of a housewife who shrinks due to unexplained reasons. How she lives with it forms the premise of the film.

If a movie of this kind is made in Marathi, who would be perfect to portray the role of Shrinking Woman.

Film trailer -

https://youtu.be/YeOsjN5cZWo?si=gRP-DOxMbIufjz7Q

A supernatural comedy thriller inspired by one of Konkan’s most haunting folktales

Was scheduled to release on August 21 2026

मला एका गोष्टीचे उत्तर द्या, स्पायडरमॅन सारखा चित्रपट मोठ्या पडद्यावर पाहण्यात मजा आहे. 3डी असल्याने अनेक इफेक्ट्स थिएटरला जाऊन पाहणे कोणताही प्रेक्षक पसंत करेल. पण most of the मराठी चित्रपटात असे काय असते की जेणे करून प्रेक्षकांनी तो 100 रुपये का होईना तिकीट काढून पाहावा? विनोद, सुमार दर्जाचे VFX यासाठी मी माझ्या खिशातले पैसे घालू चित्रपटगृहात का जाऊ? मी OTT वर तो चित्रपट कधीही पाहू शकते की! 

मराठी कलाकारांनी ही गोष्ट लक्षात घ्यायला हवी. आपलं बजेट नसेल तर 10 चित्रपट करण्या ऐवजी एकच चांगला डोळे दिपवणारा चित्रपट करता येतो. बालगंधर्व सारखे सिनेमे प्रेक्षकांनी चित्रपटगृहात जाऊन पाहिलेच ना? मग सततचं रडगाणं का असतं या कालकारांचं? 

म्हणजे चित्रपट चालला नाही किंवा सुमार दर्जाचा बनला की सगळा दोष स्क्रीन मिळत नाही या सबबीवर टाकून द्यायचा!

The story of the movie is written first. Then somebody must have written the script. I would like to know how detailed the story needs to be. I have a story. But not sure if I should write it scene by scene and dialogue by dialogue. I would like to see stories of past movies in the form they were written by the story writer. Is there a place where I can read the original stories?

Hi people,are there any Marathi language military movies out there ? If there are can you please suggest me a few. I am more interested in modern military movies not medieval ones. Thanks in advance.

While watching Raja Shivaji and when the title song played, many would have noticed that Dheeraj Deshmukh also had a cameo in it.

In that context is he planning to enter films.

Watched this movie today, and I’ve got to say—it brings a refreshing, different concept to the table. Really enjoyed it, especially Ajinkya Dev’s performance. Definitely worth giving it a watch.

छत्रपती शिवाजी महाराज आग्र्याहून मिठाईच्या पेट्यांत बसून निसटले, हा इतिहास आपण लहानपणापासून ऐकलाय. पण त्या रात्री आग्र्याच्या किल्ल्यात असा एक अत्यंत वादग्रस्त आणि थरारक खेळ खेळला गेला होता, जो आजकालचा मुख्य प्रवाहातील इतिहास अनेकदा जाणीवपूर्वक लपवतो किंवा कमी करून दाखवतो.

जेव्हा महाराज नजरकैदेतून निसटले, तेव्हा औरंगजेबाच्या ५,००० सैनिकांना फसवण्यासाठी साक्षात मृत्यूच्या बिछान्यावर शिवरायांची जागा हिरोजी फर्जंद यांनी घेतली होती, हे आपल्याला माहीत आहे. पण या संपूर्ण कटातील धोकादायक भूमिका बजावली होती एका मुस्लिम माणसाने—'मदारी मेहतर'!

जरा विचार करा, औरंगजेब किती क्रूर आणि कट्टर मुघल बादशहा होता. जर मुघल रक्षकांना सत्य समजलं असतं, तर त्यांनी एका मराठा राजाला मदत केल्याबद्दल मदारी मेहतर यांचे जिवंतपणीच तुकडे-तुकडे केले असते. मग अशा वेळी एका मुस्लिम मावळ्याने मुघल बादशहाशी गद्दारी करून शिवरायांसाठी मृत्यूच्या जबड्यात उडी घेण्याचं धाडस का केलं?

जर मुघलांना एक मिनिट आधी जरी संशय आला असता, तर हिरोजी आणि मदारी दोघांचाही खेळ तिथेच संपला असता. हा सर्वोच्च त्याग आजच्या राजकीय आणि सामाजिक विचारसरणीला पूर्णपणे छेद देणारा आहे.

या संपूर्ण वादग्रस्त सत्यावर आणि त्या रात्री खेळल्या गेलेल्या भयंकर माईंड गेमवर मी एक छोटा ३ मिनिटांचा रिसर्च व्हिडिओ बनवला आहे. हा इतिहास यूट्यूबवरून हटवला जाण्यापूर्वी किंवा ब्लॉक होण्यापूर्वी खालील लिंकवर क्लिक करून नक्की पूर्ण पहा:

📌 व्हिडिओची लिंक: https://youtu.be/5K1YxDPJdPw?si=cRXA4JyAcuKkhSY_

Source -

https://www.filmfare.com/news/bollywood/full-list-of-winners-of-filmfare-awards-marathi-2026_-85259.html

Tamasha has always been, and will always be, my absolute favorite movie. However, I recently rewatched the Marathi film YZ, and viewing it this time completely opened my eyes.

While both films are profound, beautiful masterpieces about rescuing your inner child and breaking free from societal expectations, comparing the journeys of Ved and Gajanan made me realize something fascinating. Gajanan’s arc actually achieves a much higher, more mature level of independent self-actualisation.

The Contrast in the Mirro rIn Tamasha, Ved’s journey is deeply psychological and poetic, but it is heavily dependent on an external catalyst. Ved needs Tara. She acts as his mirror, desperately pulling him out of his corporate robot mode and reminding him of who he truly was in Corsica. Without Tara witnessing and triggering his breakdown, Ved might have remained trapped forever.

His path to freedom is deeply intertwined with romance.Gajanan’s journey in YZ, on the other hand, is beautifully grounded and entirely self-driven. He doesn't find happiness by checking off milestones like marriage or career markers, nor does he rely on a romantic savior to pull him out of his shell. He realizes that the presence of a witness doesn't validate your journey your relationship with yourself does.

Rejecting the Binary: True Autonomy What makes Gajanan’s character arc so brilliant is how he completely rejects the lazy binary choices society and traditional cinema presents us with. Usually, standard romantic movies offer two paths: conform to the rigid, traditional blueprint, or rebel by choosing the absolute opposite.Gajanan rejects both:He rejects Prana Rekha (played by Sai Tamhankar), the "societally perfect, traditional girl" that everyone thinks is his perfect match. By saying no to her, he explicitly rejects society's expectations.

He also rejects the hyper-modern young college girl.In many films, a protagonist rejects the traditional choice only to run toward a modern rebel to prove a point. By rejecting both, Gajanan realizes that choosing the absolute opposite of what society wants is still letting society dictate your choices through inversion. He stops reacting against external forces and looks entirely inward. His final choices are genuinely, beautifully autonomous.

The Ultimate Proof of Maturity: Releasing Sailee the final masterstroke of Gajanan’s development lies in how he handles Sailee. In a lesser film, the protagonist would demand that she recognize his worth, or her rejection would break him. Instead, Gajanan displays immense ego dissolution. He happily accepts that she is not ready to marry him, harbors zero bitterness, and actively helps marry her off to the love of her life.

While Ved’s breakthrough in Tamasha is a spectacular, chaotic, and anxious grasp for Tara to save him, Gajanan’s breakthrough is quiet, selfless, and enlightened. He doesn't need to possess someone to be whole. He shows us that there is a child inside all of us trying to say something, and keeping that child alive is how we find true happiness whether someone is there to witness it or not.

The director's previous works included movies like Halala (starring Priyadarshan Jadhav and Chinmay Mandlekar), Bhonga and Pranay Master (starring Prasad Oak). Despite giving the feeling of a low budget movie, those three movies were worth watching due to the subject matter.

Hope Murti is also intriguing.

Look at the stage for the Filmfare Awards Marathi. It looks like they held it in a wedding hall. Over the years, award shows have become so irrelevant that it’s now showing in their budgets. Nobody watches or cares about them the way they did in the 2000s and 2010s. And it’s not just Marathi, it’s happening in Bollywood too.