The 10 Best Tamil Movies Of 2024 (2025)

Samyuktha Vijayan’s directorial debut, “Neela Nira Sooriyan” (Blue Sunshine), is a groundbreaking exploration of gender identity in Tamil cinema, offering a raw and poignant look at the transition of Aravind, a high school teacher assigned male at birth, to Bhanu. Set in the rural backdrop of Pollachi, the film navigates the complexities of transitioning, capturing the deeply personal journey of self-discovery without resorting to melodrama or sensationalism.

The film opens with Aravind (played by Samyuktha Vijayan herself) quietly perfecting voice feminization and battling dysphoria, introducing us to a protagonist who feels the crushing weight of living a double life. The delicate handling of these intimate moments—from the act of removing chest binders to the first time Aravind dresses as Bhanu —is a testament to the nuanced writing and direction. The film doesn’t merely tell the story of a person transitioning; it immerses us in the emotional and social hurdles of the process, especially within the conservative milieu of Tamil society.

One of the film’s remarkable strengths is how it eschews melodramatic tropes, focusing instead on the real, everyday challenges Bhanu faces. The reactions of Bhanu’s family, particularly her mother (Geetha Kailasam), reveal the pain of deadnaming, while her workplace drama sheds light on the systemic discrimination that trans people often face in professional environments. Bhanu’s struggles at her school, where she is denied acceptance by her colleagues and even the administration, amplify the discomfort and alienation that many in the transgender community face.

The subplot involving a non-binary student, Karthik (Masanth Natarajan), who faces bullying and finds solace in Bhanu’s courage, further enriches the narrative, offering a parallel discourse on gender plurality. The performances are outstanding, with Samyuktha Vijayan herself delivering a standout portrayal of Bhanu, navigating the character’s vulnerability and strength with equal finesse. It is definitely a leap forward in breaking down the barriers surrounding queer representation in mainstream cinema.

9. Lover | dir. Prabhu Ram Vyas

Debutant Prabhuram Vyas’s “Lover” cuts through the layers of romanticism typically associated with love stories and instead dares to depict the uncomfortable truths that often lie beneath the surface of even the most passionate relationships. It is a raw, intimate exploration of modern relationships, marked by possessiveness, insecurity, and self-discovery. The film pulls us into the turbulent world of Arun (Manikandan) and Divya (Sri Gouri Priya), two contrasting personalities whose love is both their salvation and their undoing.

“Lover” introduces us to Divya (Sri Gouri Priya), an IT professional, who recounts her tumultuous relationship with Arun (Manikandan) to her office colleagues by the beach. What begins as a lighthearted narrative soon shifts into a deeper reflection on the complexities of love and possessiveness. Arun, a man marked by stubbornness and old-school ideals, is in many ways an immovable object; while Divya, free-spirited and independent, is a force of nature, undeterred by convention. Their interactions are often a clash of these two worlds—explosive, painful, and ultimately destructive.

What’s most refreshing is its unflinching portrayal of the toxicity and refusal to offer a polished or idealized version of its characters. “Lover” challenges conventional portrayals of love by holding its protagonist accountable—a rarity in Tamil cinema. Manikandan’s portrayal of an entitled, possessive character, once romanticized as the essence of love, is now dissected and laid bare, compelling the audience to reconsider the very nature of affection and ownership in relationships. His flaws are shown not as redeeming qualities but as deeply rooted insecurities born from a broken family and an overwhelming fear of abandonment.

Through a keen lens, the film scrutinizes the bruised male ego, exposing its toxic contours with unflinching clarity. Divya, on the other hand, struggles to assert her independence while still caring for a man who constantly undermines her autonomy. With Sean Roldan’s haunting score weaving an emotional tapestry, “Lover” is a much-needed breath of fresh air in a cinematic landscape that often elevates toxic relationships to idealized, romanticized highs.

8. Maharaja | dir. Nithilan Saminathan

Vijay Sethupathi, a name synonymous with versatility and brilliance, brings his unmatched talent to “Maharaja,” his 50th film, in a performance that showcases his comedic timing, vulnerability, and, above all, his inherent ability to make any character deeply human. “Maharaja” showcases Nithilan Saminathan’s unique directorial vision of a dark, twist-laden thriller that fuses absurdity with grit, relying on sharp writing and strong performances to captivate the audience, despite some narrative imperfections.

Contrary to the grandeur his name might suggest, Maharaja (Sethupathi) is a grim and humble barber leading a quiet life with his daughter Jyothi (Sachana Namidass). When an accident shatters his already somber world, Maharaja’s life spirals into a bizarre quest to find an iron dustbin named Lakshmi, which he believes saved his daughter’s life. This strange premise unfolds at a pace that keeps you riveted, with Sethupathi’s nuanced performance anchoring the entire film. His Maharaja, caught between ridiculousness and desperation, becomes a study of eccentricity and pathos. His earnestness, despite the bizarre situation, draws the viewer in, making us empathize with his desperation, no matter how outlandish the scenario.

The screenplay, while nonlinear, is clever and compelling, trusting the audience to unravel the mystery themselves. There’s a subtle comedy embedded in Maharaja’s absurdly repetitive requests at the police station, where he faces ridicule for asking the authorities to find a missing dustbin. While the story manages to maintain intrigue throughout, the film’s writing occasionally leans into convenience, particularly in its third act, where the narrative feels contrived and overly engineered.

A prime example is the moment where Maharaja narrates the story of Lakshmi’s disappearance — meant to be comical, it risks overstating the humor, tipping into farce rather than genuine amusement. While the writing could have been tighter, and some themes could have been explored with greater sensitivity, “Maharaja” remains a worthwhile addition to Sethupathi’s impressive filmography.

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7. Viduthalai Part 2 | Vetri Maaran

Vetri Maaran, known for his realistic, gritty storytelling style and strong socio-political themes, continues to powerfully address the themes of caste discrimination, the corrupt nature of authority, and the struggles of the oppressed in “Viduthalai: Part 2.” While “Viduthalai: Part 1” focused on the journey of Constable Kumaresan (Soori), an underdog thrust into a chaotic and oppressive world, the sequel shifts its focus to Perumal aka Vaathiyaar (Vijay Sethupathi), a school teacher-turned-revolutionary.

The film begins with Vaathiyaar’s capture and the grim journey he embarks on as he is moved under heavy guard through the treacherous terrain, with Kumaresan and his morally bankrupt superior Ragavendar (Chetan) in tow. The forest backdrop serves as a metaphor for the ideological conflict at the heart of the story—an environment where corruption, inequality, and systemic oppression thrive, and where revolutionaries like Vaathiyaar begin their battle against the status quo. Through Vaathiyaar’s teachings and his fiery dialogues, the film delves into the concept of truth and manipulation, especially in a society where information is fragmented and controlled.

Sethupathi shines in his role; his portrayal of both the younger and older Perumal is nuanced, effortlessly capturing Vaathiyaar’s transformation from a humble schoolteacher to a righteous yet empathetic revolutionary. The romantic subplot between Vaathiyaar and Mahalakshmi (Manju Warrier) adds emotional depth, balancing the intense political discourse. The film’s outstanding cinematography by R Velraj beautifully captures the rugged terrains of the forest and the stark village landscapes, enhancing the visceral experience of the action sequences. Illaiyaraaja’s music further intensifies the emotional weight of the film, making every frame feel purposeful and hard-hitting. The film’s crisp editing, particularly in the intense action sequences, further elevates the experience. Despite some narrative missteps, “Viduthalai: Part 2” is an engaging and thought-provoking film that showcases Vetri Maaran’s vision and the power of storytelling through performance and visual craft.

6. Amaran | dir. Rajkumar Periasamy

“Amaran” is a poignant biographical war drama that strikes a delicate balance between a gripping military narrative and a deeply personal love story. Directed by Rajkumar Periasamy, the film chronicles the life of Major Mukund Varadarajan (played by Sivakarthikeyan), a brave soldier who made the ultimate sacrifice during a counter-insurgency operation in Kashmir’s Shopian district. It traces Mukund’s journey from a spirited college student to a decorated army officer, interweaving his personal life with his professional endeavors.

His love story with Indhu Rebecca Varghese (Sai Pallavi), though initially slow-paced, provides a heartwarming backdrop to his military career. While the romantic portions initially lack the emotional depth needed to fully convince, the film swiftly picks up pace once the action and military drama takes center stage. The film excels in its depiction of the camaraderie among soldiers and the gritty realities of military life. The intense action sequences are handled with remarkable skill, keeping the audience on the edge of their seat while allowing us to connect with the characters on a deeper level.

One of Amaran’s greatest highlights is its focus on the humanity behind the uniform. The film thoughtfully avoids excessive political commentary on the Kashmir conflict, instead opting to explore the personal battles faced by Mukund and his comrades. The film steers clear of jingoism, presenting the war not as a glorified spectacle but as a backdrop to the more profound emotional and moral struggles of those involved. Sivakarthikeyan delivers a powerful and nuanced performance, shedding his light-hearted image to take on a more serious, intense role.

His portrayal of Major Mukund is a revelation, embodying both the soldier’s bravery and his inner vulnerability. Sai Pallavi, while effective in conveying the emotional depth of her character, faces a challenge in her portrayal of Indhu due to inconsistencies in her Malayalam dialogue delivery. Nonetheless, she brings sincerity and emotion to her role as Mukund’s unwavering love. Technically, “Amaran” excels with strong performances, an immersive narrative, and compelling action sequences that make it a standout in Tamil cinema’s war genre.

5. Thangalaan | dir. Pa. Ranjith

Vikram delivers a ferocious performance as the titular character, Thangalaan, in Pa. Ranjith’s cinematic odyssey that boldly traverses the tumultuous terrain of human greed, societal oppression, and self-assertion. Set against the backdrop of a mystical, gold-laden world, “Thangalaan” is a visually stunning epic that brings together a compelling fusion of history, myth, and psychological depth. The film is set in the 1850s in the remote village of Veppur, where a group of exploited workers is driven to desperate measures by an oppressive landlord.

Thangalaan, initially a land-owning tribal leader, is betrayed by the same system he once belonged to, eventually leading him to join forces with the British explorer Clement (Daniel Caltagirone). Together, they embark on a treacherous quest to find gold in a region rumored to be cursed, guarded by Aarathi (Malavika Mohanan), a fierce sorceress. The journey, however, is not just a physical one; it mirrors Thangalaan’s internal struggle for identity, justice, and empowerment.

The film’s narrative is driven by its protagonist’s quest for redemption and the promise of gold that could lift his people out of subjugation. Pa. Ranjith expertly interknits moments of intense action, supernatural elements, and the haunting legacy of colonization, while exploring complex moral dilemmas. The folklore of the land and the personal stakes of the characters are intricately tied, making each scene pulsate with urgency and emotion. Vikram’s portrayal of Thangalaan is nothing short of extraordinary. With an intensity that radiates from every scene, he encapsulates the anguish and resolve of a man torn between personal survival and communal salvation.

Parvathy Thiruvothu adds depth to the character of Gangamma, Thangalaan’s wife, grounding the film in emotional reality amidst its grandiose spectacle. Malavika Mohanan, as Aarathi, offers a mesmerizing performance that stands as her finest in Tamil cinema, embodying both strength and vulnerability with equal measure. The film’s visual splendor, backed by GV Prakash Kumar’s evocative score, immerses the audience in a world that blends beauty and brutality. The set pieces—particularly a gripping battle with a panther and a daring river crossing—remain unforgettable.

4. Lubber Pandhu | dir. Tamizharasan Pachamuthu

Director Tamizharasan Pachamuthu’s latest offering, “Lubber Pandhu,” transcends the realm of a typical sports drama. While it revolves around the passionate world of rural Tamil Nadu’s rubber ball cricket tournaments, the film delves deeper, exploring the intricate tapestry of human relationships, societal pressures, and the ever-present shadow of caste. The film chronicles the fierce rivalry between Anbu (Harish Kalyan), a talented bowler, and Poomalai a.k.a. “Gethu” (Attakathi Dinesh), a seasoned and respected batsman. Their on-field clashes escalate into a personal vendetta, further complicated by Anbu’s budding romance with Gethu’s daughter, Durga (Sanjana Krishnamoorthy). The film elegantly unpacks how the egos of these two men, shaped by years of unspoken animosities and personal stakes, bleed into their private lives, threatening to tear apart both their families and their bond with each other.

The film’s crowning achievement lies in shining a light on the strength and resilience of its female characters, which drive the emotional core of the narrative. Yashoda (Swasika), Gethu’s wife, is a force to be reckoned with, running the household with unwavering determination and her husband’s stubbornness with a quiet strength that anchors the story. Durga, defying societal norms, stands by Anbu encouraging him to pursue his dreams. The film also attempts to humanize its central conflict. Both Anbu and Gethu evolve from being mere rivals on the field to deeply layered individuals whose actions speak louder than words. Tamizharasan deftly balances the drama of their rivalry with subtle moments of introspection and character growth, making the stakes of their competition feel deeply personal.

What truly elevates “Lubber Pandhu” is its ability to weave complex themes—such as caste-based discrimination, familial expectations, and personal ambition—into the framework of a simple cricket match. The sport, in this context, becomes more than just a game; it represents identity, pride, fading glory, and an avenue for escape from a world governed by rigid social structures. Despite the film’s modest scale, it resonates with viewers through its richly drawn characters, who are not mere background players; they have their own arcs, quirks, and emotional depth. There are no flashy romantic tropes or melodious duets here, but what the film lacks in traditional glamour, it makes up for with its raw emotional intensity and nuanced storytelling.

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3. Vaazhai | dir. Mari Selvaraj

Mari Selvaraj’s “Vaazhai” is not merely a coming-of-age story; it’s a searing indictment of a system that grinds the impoverished into dust. Based on filmmaker Selvaraj’s childhood experiences, he crafts a story through the eyes of a child, yet it is far from a children’s film. The film follows Sivanaindhan (Ponvel M.), a bright young boy from a rural Tamil village, whose childhood is consumed by the backbreaking labor of carrying banana plantains.

This relentless toil, a stark reflection of the socio-economic realities of his community, threatens to crush his dreams and aspirations. Sivanaindhan, a Rajini fan at heart, finds solace in his studies and friendship with Sekar (Raghul R.). His crush on teacher Poongodi (Nikhila Vimal) provides a glimmer of hope, a reminder of a world beyond the drudgery of his daily existence. However, Poongodi, like many in his world, remains oblivious to the harsh realities of his life, highlighting the stark divide between the privileged and the marginalized.

What makes “Vaazhai” stand out is its seamless blend of personal and political storytelling. At the heart of “Vaazhai” lies the compelling portrayal of class struggle and caste dynamics, brilliantly underscored by the subplot of Kani (Kalaiyarasan), a communist who leads the fight against an exploitative plantation boss. This narrative arc transforms Sivanaindhan’s coming-of-age story into a broader social commentary, showing how the innocence of youth collides with the harsh realities of caste and class oppression.

“Vaazhai” is a visual feast, capturing the beauty and brutality of rural life with stunning cinematography. The film captures the tenderness and nurturing spirit of the rural landscape, where nature’s vibrant beauty contrasts with the exploitation and oppression that its people face. The soundscape is equally immersive, capturing the harsh realities of their lives with the rhythms of nature. “Vaazhai” is a powerful exploration of human dignity, resilience, and the quiet strength of a community, all while offering a poignant critique of societal structures. It is a film that lingers in the heart and mind, striking a rare balance between heartbreak and beauty—an exceptional feat for any filmmaker.

2. Kottukkaali/ The Adamant Girl | dir. PS Vinothraj

“Kottukkaali” is a poignant and unsettling journey through the heart of Tamil Nadu, where tradition suffocates individual desires. Director PS Vinothraj’s sophomore feature outshines his debut “Koozhangal,” solidifying his reputation as a filmmaker with a sharp eye for the complexities of rural life. This slow-burn road movie is a visceral exploration of deeply ingrained sexism and chauvinism perpetuated through generations of patriarchy, compounded by the pervasive influence of caste-based pride, and the smothering weight of societal expectations.

The film centers on Meena (Anna Ben), a young woman whose unconventional love for a man from an “oppressed” caste is met with fierce disapproval from her family. Believing her to be “under the spell” of this forbidden love, her family, led by her betrothed, Pandi (a volatile Soori), embarks on a journey to an exorcist, hoping to cure her from the “possession” that ails her. This journey, fraught with tension, forms the backbone of the narrative. Men on motorcycles and women crammed into an auto-rickshaw, carrying a chicken for sacrifice, symbolize the patriarchal order and the oppressive forces that seek to control Meena’s destiny.

The film’s brilliance lies in its subtlety, with Vinothraj allowing moments to unfold slowly—sometimes testing the viewer’s patience but always deepening the emotional resonance. Anna Ben’s largely silent but powerful performance as Meena conveys a world of emotion with minimal expression, her quiet rebellion simmering just beneath the surface. Her eyes brim with untold emotion, but she never allows a tear to fall, for in her world, vulnerability would mean submission. The film’s standout moments include a tense scene where men physically push an auto-rickshaw with Meena inside, symbolizing her defiance of societal norms, and a haunting moment at a puberty ceremony where Meena silently hums a song, triggering a violent outburst from Pandi.

These moments, along with the subtle yet powerful visual metaphors—such as the recurring symbolism of knots— the rope on the auto, the tied rooster, and the intricate braids in Meena’s hair—reflect the constraints placed upon Meena and the yearning for freedom. “Kottukkaali” is a film that demands to be seen, discussed, and debated. With its exceptional ensemble cast, meticulous direction, and deeply reflective narrative, “Kottukkaali” solidifies Vinothraj’s place as one of Tamil cinema’s most promising auteurs.

1. Meiyazhagan | dir. Prem Kumar

Prem Kumar’s “Meiyazhagan” is the best offering of Tamil cinema this year, a beautifully crafted, heartwarming, and emotional drama that lingers long after the credits roll. Much like his directorial debut, ‘96, this film is a poetic exploration of human relationships, capturing the essence of family bonds, forgotten histories, fading cultural identity, and the small moments that define our lives. It follows Arumozhi Varman, a 40-year-old man, returning to his hometown after decades, only to be showered with love and affection by a relative he struggles to remember. As the narrative unfolds, we witness the delicate transformation of their relationship, with the always-impressive Arvind Swami and the ever-charismatic Karthi at the heart of this emotional journey. Their characters’ bromance is effortlessly portrayed, as Arvind Swami delivers what is perhaps his best performance to date, while Karthi’s mischievous, nameless character recalls the playful charm of his early films.

The film thrives on moments in motion—intimate, thoughtful, and visually stunning. Prem’s background as a cinematographer shines through in every frame, where each scene feels like a living photograph. The introduction of Arvind Swamy’s character, where he gracefully engages in the serene ritual of feeding parrots, stands out as one of the most wholesome moments in cinema this year. It isn’t just a casual action; it’s a gentle portrayal of his character’s soul who is deeply attuned to the quiet beauty of nature. What makes Arul truly human is his unapologetic authenticity. He is unafraid to shed tears, to laugh with abandon, to embrace vulnerability, and, most strikingly, to admit when he is wrong. The chemistry between the two leads is palpable, with every shared glance, subtle gesture, and unspoken word speaking volumes. Watching their relationship evolve from one of awkwardness to affection is nothing short of captivating.

What truly elevates “Meiyazhagan” is its emotional depth. The film doesn’t shy away from the melancholy that often accompanies love and loss. The gripping narrative holds you in a state of spellbound tension, leaving you torn between joy and sorrow. The beautiful score by Govind Vasantha, with the poignant ‘Yaaro Ivan Yaaro’ crooned by Kamal Haasan, adds layers to the emotional journey, making it a truly immersive experience.

The film is a celebration of the finer moments in life—those fleeting connections that define us, even if only for a short while. “Meiyazhagan” is more than just a story; it’s a masterful blend of performances, visuals, and music that touches the heart, and with a nod to nostalgia, it makes you reflect on the ones you’ve lost and the relationships that shape us all. It’s a film that will leave you tongue-tied with a bittersweet feeling—a mix of joy, longing, and a lingering sense of wonder.

Now that we are done with this bunch, let me mention some of the Honourable Mentions that failed to make the cut.

Honorable Mentions

Raghu Thatha

“Ponna adakama ellam iruka mudiyathu” (I’m not interested in being a proper lady) isn’t just a rebellious declaration; it encapsulates Kayalvizhi Pandian’s (Keerthy Suresh) unwavering commitment to her independence and her rejection of society’s expectations for women. Set against the backdrop of the anti-Hindi protests in 1970s Tamil Nadu, this film, directed by Suman Kumar, introduces us to Kayal, a feminist, writer, and bank employee, who is not only an advocate against the imposition of Hindi in her village of Valluvanpettai but also stands firm against the pressures of marriage and traditional gender roles. Kayalvizhi’s battle is two-fold: not only does she oppose the Hindi Sabha, but she also rejects the societal pressure to conform to traditional expectations of marriage. The film takes a sharp turn when Kayalvizhi finds herself torn between her principles and an impending marriage proposal, creating a conflict that tests everything she believes in.

Keerthy Suresh delivers a standout performance as Kayal, a young woman with an unapologetic streak— fierce, untamed, and resolutely herself. The film’s charm lies in its irreverence, infusing humor into even the most serious moments. The film doesn’t just serve as a period drama but as a powerful exploration of gender, identity, and the pursuit of selfhood. The clash between her individuality and societal expectations plays out in humorous yet deeply emotional scenes, particularly when she faces a marriage proposal that threatens to diminish her sense of self. At its heart, “Raghu Thatha” is a film about self-determination, individuality, and the fight against societal impositions, making it an unforgettable addition to Tamil cinema.

Raayan

Dhanush’s “Raayan” marks a significant step forward in his directorial journey, establishing him as a filmmaker capable of weaving intense, raw narratives with emotional depth. Following his well-received debut “Pa. Pandi,” Dhanush explores darker, more complex themes in “Raayan,” set in a world of violence, power struggles, and familial bonds. The story revolves around Kathavaraayan “Raayan” (Dhanush) and his siblings—two brothers and their infant sister—who escape their village and seek refuge in Madras, where their lives intertwine with two rival gangsters, Sethu (SJ Suryah) and Durai (Saravanan), amidst the backdrop of a corrupt police system. While the premise may seem familiar, Dhanush’s direction, his commitment to authentic emotions, and his eye for detail elevate the film beyond predictability, turning it into a compelling character-driven drama.

The film’s high point lies in the relationships between the siblings, particularly the bond between Raayan and his brothers. Dhanush’s portrayal of Raayan as a responsible, protective figure is masterful, and the performances from the supporting cast, including Kalidas Jayaram as the righteous Manickam and Sundeep Kishan as the impulsive Muthu, and Dushara Vijayan as the strong-willed Durga add depth to the narrative. The dynamic between the characters is rich with vulnerability and tension, making the emotional stakes palpable.

Cinematographer Om Prakash enhances the gritty, tension-filled atmosphere with dramatic shots that complement AR Rahman’s haunting score, which amplifies the film’s foreboding tone. Despite its predictable narrative arc, “Raayan” thrives due to Dhanush’s skilled pacing, which keeps the audience invested in the unfolding drama. Ultimately, “Raayan” is a film that balances action and family drama, showcasing Dhanush’s talent not just as an actor, but as a storyteller who can craft intense, emotionally resonant cinema.

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