South Dubbed Horror Movies In Hindi

[Arridano Tillo]

Freshsets itself up much like a romantic comedy, replete with the white best friend Noa (Daisy Edgar-Jones) experiencing dating foibles and venting about it to Black best friend Mollie (Jonica T. Gibbs), who mostly listens and gives advice for the first chunk of the movie. This racist dynamic does turn a corner eventually, but by then we are far out of rom-com territory, and deeply entrenched in slasher-meets-body horror.

You will like Fresh if you are interested in horror movies with a feminist twist, and if you can handle human-on-human violence, with the understanding that this dark comedy body-horror thriller serves up more than the tried and true final girl trope. I do not recommend this movie if you are squeamish, do not like horror or especially human-on-human violence, and if you are under 17. Otherwise, please enjoy, and if you were frustrated by my lack of spoilers you can find the very spoiled review of Fresh, as always, on our delightful podcast. Happy Halloween, everybody!

But Indian film audiences have no dearth of horror movies to call their own. With elaborate folklore to draw from, Indian horror cinema has a style of its own, and when it comes to the regional South Indian film industries, they have mastered an even more idiosyncratic take on the horror genre. From mind-bending thrillers that remind you of the horror offerings of Japanense and Korean horror cinema to fully-fledged entertainment packages featuring action, comedy, and a healthy serving of the paranormal, here are 14 of the best South Indian horror movies you need to watch.

Directed by acclaimed Tamil director Mysskin, the 2014 movie Pisaasu made a definite mark on its viewers with its unique take on the horror genre, blending it with heartfelt romantic notes. The movie begins with an up-and-coming violinist named Siddharth, played by Naga, witnessing a violent accident one day. A compassionate man, he is moved to help the victim to the fullest and rushes her to the hospital, where she passes away while holding hands with the protagonist. Following this incident, strange events begin taking place at his home, and Siddharth finds himself heading towards a discovery that will move him to his very core.

The 2022 Malayalam-language film Kumari is one of the most memorable horror offerings to come out of India recently. A unique and well-realized premise combines the eerie familiarity of Indian mythologies with the terrifying unknowability of classic Lovecraftian mysteries. Actress Aishwarya Lekshmi appears in the leading role as the titular Lekshmi, an exuberant young woman who is unceremoniously married off to a village far away. Even as she tries to make the best of her circumstances, her life is thrown into terrors of the cosmic variety. She discovers that the family she has married into is under the debt of an otherworldly entity, and her soon-to-be born child might be at imminent risk because of it.

Kumari is an excellent watch among South Indian horror movies with its superior ambiance. It develops its story less with idle plot points and more with its compelling atmosphere, which continuously whispers through each frame to craft a truly memorable watch.

Telugu-language film Arundhati falls more in line with the standard horror offering that comes out of the regional South Indian film industries. Anushka Shetty, who is effectively the default choice for powerful women leads in Telugu cinema, appears as the titular character in this movie about reincarnation and powerful occultist spirits. Written as a chapter in the lore of an ancient royal clan, Arundhati centers around the enmity between an illustrious heir of the Gadwal royal clan and an evil sorcerer who desires her. As supernatural elements come into play, it is only until two generations later that the saga is finally concluded.

An intriguing supernatural thriller that will remind some viewers of Korean cross-genre thrillers, the 2016 Kannada-language movie U Turn has enjoyed massive success in the South Indian market, even being remade a staggering seven times. The movie follows an interning reporter Rachana, played by Shraddha Srinath, who investigates a series of unusual accidents at a particular flyover in her city. She quickly understands that these accidents are being caused by drivers who choose this point to take illegal U-turns on the road, leaving road dividers haphazardly on the road. But when these rule-breakers begin to die off one by one, Rachana is slowly taken down the tunnel of a supernatural mystery.

Aranmanai has a fairly involved storytelling, the kind of which is typical to South Indian cinema and perhaps even resembles the best of it. Typical Indian beliefs, superstitions, and motives figure into the plot for a rich, culturally grounded story.

Released in 2012, the Tamil-language film Pizza was critically acclaimed for its unique story and impressive performances. The movie was a breakout hit for actor Vijay Sethupathi, who acts in the lead role as a pizza delivery man who gets trapped in a house whose inhabitants are serially murdered in circumstances that defy logical explanation. Pizza has a mind-bending plot that confounds viewers with elements of supernatural mystery as well as crime thriller, as it comes with a surprising twist on top of an already captivating premise.

Jallikattu begins in a placid, harmonious village community in Kerala, where a massive upcoming wedding feast is the talk of town. As the local butcher makes his preparations to butcher a massive buffalo, it runs off into the nearby forest. The entire village is enlisted to hunt down the beast; after all, a runaway buffalo promises a rare treat to its catchers in this small community. But along the way, slow chaos descends upon its peaceful inhabitants as they get consumed by greed.

Bhinna is a landmark for the Kannada film industry, set apart by its unusual plot and the fact that it is the first Kannada-language original feature by a streaming platform in India. Actress Paayal Radhakrishna appears in the lead role as Kaveri, an actress who swears by the method acting style and who is struggling to solve complicated issues in her marriage.

The elements of horror begin to settle into place once the two begin their married life, as Harini begins to show signs of possession by an otherworldly entity. And it seems to be connected with a mysterious trunk that Harini brought to her new home.

The year 2022 was a tremendous one for Indian cinema, as audiences were treated to multiple titles that were quickly dubbed iconic, winning hearts across the country. Kantara was one of those movies, a mammoth achievement for the Kannada film industry that became the third highest-grossing movie of the year. Written, directed by, and starring Rishab Shetty in the lead role, Kantara drew attention to a cultural phenomenon known as Bhoota Kola, a ritual dance tradition where local protector gods are believed to possess the bodies of its dancers.

The classic South Indian horror tropes of black magic and wars waged on the mystical front find a more dramatic expression in the 2023 movie Virupaksha. The story begins in a little village where an innocent couple is accused of practicing black magic and lynched, leaving behind an orphan boy. 12 years later, the village is stricken by a string of unusual deaths, from freak crow maulings to gruesome forms of suicide.

South Korean horror cinema has experienced a surge in popularity over the past few decades. From terrifying tales of vengeful female ghosts to haunting explorations of economic inequality, colonialism, xenophobia, geopolitics and gender dynamics, these diverse yet consistently fear-inducing films have carved out a distinct niche in the global genre landscape.

After a fallow period for the genre throughout the 1980s and 90s, the surprise box office success of Whispering Corridors kickstarted the South Korean horror boom. Produced independently for a thrifty $600,000, it was followed by five sequels, which are unconnected in terms of narrative but reprise settings and key motifs.

A techno-nightmare that does for cellphones what the Japanese horror Ring (1998) did for video cassettes and Pulse (2001) did for the internet, Phone is a sleek mainstream genre piece which unfolds more like a dread-filled mystery than a full-on horror film.

Based on a Joseon dynasty folk tale, A Tale of Two Sisters is an exquisitely crafted piece of psychological horror that unfolds within the grounds of a handsome yet suitably foreboding private estate. A dark fairytale tone is conjured by impeccably stylised, dimly lit interior sets: elaborately patterned wallpaper, ornate furnishings and a rich colour scheme that is heavy on deep red.

Troubled teenager Soo-mi (Lim Soo-jung) returns home after a spell in a sanatorium; she reconnects with her younger sister Soo-yeon (Moon Geun-young), but their father Moo-hyeon (Kim Kap-su) appears distant, while stepmother Eun-joo (Yum Jung-ah) is curiously unwelcoming. The family is struggling to come to terms with an undisclosed tragedy, which sets the stage for a gasp-inducing twist.

Skilfully paced by director Kim Jee-woon, this disquieting examination of familial trauma is pivoted on heartrending performances from Lim and Moon that gracefully convey adolescent anxieties within the meticulously designed gothic trappings.

After being infected with a virus, Catholic priest Sang-hyun (Song Kang-ho) gains superhuman strength along with an insatiable craving for human blood. An affair with bored housewife Tae-Ju (Kim Ok-bin) further complicates his plight when she also becomes immortal.

Thirst is laced with skewed humour: the vampire couple tries to give their home a sense of daylight by hanging florescent lights and painting the walls blinding white. It also deviates from vampire lore by omitting bats, stakes, garlic and crosses. Instead, Park channels body horror to present vampirism as a disease which the priest strives to manage only to forsake his moral compass in the process.

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