As the year 2025 draws to a close, the annual ritual of introspection extends to the world of Hindi cinema. A review of the films released this year, both in theatres and on OTT platforms, paints a picture of an industry largely playing it safe, often to its own detriment. The dominant themes were unmistakable: hypermasculine violence, a relentless parade of sequels, and the conspicuous sidelining of women. While a handful of films dared to be different, they remained exceptions in a landscape craving innovation.
The Reign of Violent Men and Silent Women
One of the most persistent trends of 2025 was the glorification of aggressive masculinity, where male protagonists were defined by their capacity for violence, often against a backdrop of muted or absent female voices. The year-end release Dhurandhar on December 5 felt like a fitting, if troubling, culmination of this theme.
The pattern was set early with January's Deva, featuring Shahid Kapoor as a sexist, trigger-happy cop who required amnesia to develop a semblance of sensitivity. Sky Force, released the same month, offered slightly toned-down jingoism but struggled to escape the shadow of its predecessor, Fighter.
As months passed, the trend intensified. Vicky Kaushal roared through the historical action of Chhaava, Rajkummar Rao embraced massy dialogue delivery and murderous rage in Maalik, and Salman Khan appeared to sleepwalk through Sikandar. Tiger Shroff returned with Baaghi 4, while Hrithik Roshan seemed visibly disengaged in the poorly executed War 2, a film that threatened to derail the YRF Spy Universe.
The Sequel Fatigue: A Cycle of Repetition
If the industry's reliance on violent heroes was one pillar of 2025, its unwavering commitment to sequels was the other. This was a year where franchises were extended regardless of audience demand or creative necessity.
The spy genre saw Kabir return in War 2 to battle his former friend Vikram, played by Jr NTR. Akshay Kumar doubled down with appearances in Jolly LLB 3 and the critically panned Housefull 5. Ajay Devgn showed similar dedication with Raid 2, De De Pyaar De 2, and Son of Sardaar 2.
Perhaps most shocking was the existence of Mastii 4, a film that, in 2025, still found financiers and actors willing to propagate humor centered on infidelity and crude, sexist gags. It raised a pressing question about creative bankruptcy: how much longer must audiences endure recycled plots of middle-aged men lusting after women?
The sequel trend also included spiritual successors. Dhadak 2, a powerful adaptation of the Tamil film Pariyerum Perumal, succeeded the remake Dhadak. Anurag Basu presented Metro in Dino, a follow-up to Life in a… Metro, which, despite charming moments, offered little new perspective on modern love. The heartwarming Sitaare Zameen Par evoked memories of Aamir Khan's classic, while Thamma expanded the Maddock Horror Comedy Universe with a vampire tale.
Love Stories: A Watershed Moment and Toxic Relapses
Romance made a notable return in 2025, but the execution was wildly inconsistent. The year's watershed moment was undoubtedly Saiyaara. Despite lacking A-list stars or a groundbreaking plot, its soulful music, talented leads, and authentic portrayal of Gen Z commitment resonated deeply, with viral videos capturing audience tears in theatres.
Unfortunately, most other love stories failed to connect. Films like Param Sundari were bogged down by stereotypes, while Sunny Sanskaari Ki Tulsi Kumari felt curiously pointless. The year's final rom-com, Tu Meri Main Tera Main Tera Tu Meri, met with audience apathy.
A particularly concerning sub-genre emerged with films like Tere Ishk Mein, starring Dhanush and Kriti Sanon. It featured a scene where a man pours a liquid reminiscent of acid on a woman, perpetuating the dangerous Raanjhana school of romance that normalizes violence as a facet of passion. In a country grappling with honour-based violence, such narratives are not just careless but harmful. One can only hope that 2025 marks the last year such toxic love stories are glorified.
Silver Linings: The Beacons of Hope
Amidst the gloom, several films shone as beacons of creativity and sensitivity. These outliers tackled important issues, presented offbeat narratives, and offered technically innovative or socially conscious storytelling.
Notable mentions include Homebound, which asked brave questions; the delightful Superboys of Malegaon; and thought-provoking works like Jugnuma, Haq, Kailidhar Laapata, Mrs, Nishaanchi, and Humans in the Loop.
Tragically, many of these films struggled for visibility. They faced limited theatre screenings, were relegated to direct OTT releases, or are still fighting for a platform. This highlights a post-pandemic regression, where the industry's risk-aversion has shrunk the space for the unconventional stories and characters that once defined cinematic success.
As we look toward 2026, the hope is for courage over fear. The audience is ready for films that move beyond a narrow, violent masculinity, that separate patriotism from propaganda, and that genuinely make space for women, the queer community, and inventive storytelling. The silver linings of 2025 prove that demand exists; the industry must now find the will to supply it.
