
From Bhediya to Naagzilla How creature features are crawling back into the mainstream
For decades, Bollywood has had a curious fascination with the supernatural. From haunted havelis and vengeful spirits to reincarnated lovers and shape-shifting snakes, Indian cinema has regularly flirted with the eerie and the extraordinary. But in recent years, a rather intriguing sub-genre seems to be slowly slithering its way back into the mainstream: the creature feature.
The latest string of announcements and releases suggests that Bollywood is steadily reclaiming its age-old love for mythical creatures and monsters, albeit with a modern, glossier, and sometimes humorous twist. What began with
Varun Dhawan
and
Kriti Sanon
's
Bhediya
has now evolved into a trend, with upcoming films like Thama and Nagzilla confirming that audiences are once again ready to embrace the beast within.
Jaideep Ahlawat Reveals Hilarious Dance Debut Saga In Most Candid Interview | Jewel Thief Exclusive
The Return of the Werewolf: Bhediya's Impact
In 2022, Bhediya arrived as a fresh take on the folklore horror genre. Directed by Amar Kaushik, who had already made a mark with Stree, this film saw Varun Dhawan transform into a werewolf after being bitten during a forest assignment in Arunachal Pradesh. While Stree had been a surprise blockbuster, blending horror with humor and social commentary, Bhediya attempted a similar formula with a creature feature slant.
by Taboola
by Taboola
Sponsored Links
Sponsored Links
Promoted Links
Promoted Links
You May Like
Cost Of Amusement Park Equipment From Mexico Might Surprise You - See Tips
Amusement Park Equipment | search ads
Click Here
Undo
Although the film's box office run wasn't record-breaking, it made enough noise to be considered a cult favorite in the making. Its unique blend of mythology, environmental messaging, quirky comedy, and state-of-the-art VFX for a Bollywood film proved that there was an appetite for creature features beyond snakes and spirits.
The film's success paved the way for Bollywood filmmakers to think beyond formulaic ghost stories and urban legends, pushing the boundaries into territories less explored in contemporary Hindi cinema.
From Werewolves to Vampires: Enter Thama
Riding the coattails of Bhediya's moderate success, producers soon began scouting for new mythological creatures to build stories around. Enter Thama, an upcoming film starring
Ayushmann Khurrana
and
Rashmika Mandanna
, which introduces Bollywood audiences to a world of vampires.
For a country where vampires haven't really found a footing despite the global popularity of franchises like Twilight or The Vampire Diaries, Thama is a bold move. Reportedly Rashmika plays a vampire in the film.
Interestingly, Thama is the latest addition to the horror-comedy universe which also has Stree and Bhediya in it
Kartik Aaryan Turns Serpent: Bollywood's Eternal Obsession with Snakes
Perhaps the most intriguing addition to this list is Kartik Aaryan, who is set to star
Naagzilla
where he plays the shape-shifting snake.
This isn't new territory for Bollywood. In fact, Hindi cinema's affair with serpents dates back to the 1950s and 60s, with films like Nagin (1954) setting the stage. The 1976 Nagin, starring Reena Roy, Sunil Dutt, and Feroz Khan, became a massive hit, followed by Nagina (1986) starring Sridevi, whose dance number 'Main Teri Dushman' remains iconic even today.
Through the decades, the motif of the 'ichchadhari naag' (shape-shifting snake) has been a recurring element in Bollywood's horror and fantasy sagas. Films like Naag Nagin, Sheshnaag, Nigahen, and Jaani Dushman- Ek Anokhi Kahani not only capitalized on India's mythological lore but also on the inherent allure and fear associated with snakes in Indian culture.
The 2000s, however, saw a decline in such themes as urban horror and psychological thrillers took precedence. Kartik Aaryan's upcoming venture, therefore, feels like a nostalgic throwback, reimagining the classic snake saga for a new generation with cutting-edge technology and modern storytelling.
Why Creature Features Work in India
At their core, creature features — whether they involve werewolves, vampires, or serpents — tap into India's rich reservoir of folklore and superstition. Rural and urban India alike have grown up hearing tales of shape-shifting animals, forest spirits, and nocturnal predators. By bringing these legends to life on screen, Bollywood provides a cinematic extension of these cultural myths.
Moreover, these films lend themselves to rich visual storytelling. India's varied landscapes, from dense forests to ancient temples and crumbling mansions, make for perfect backdrops for such stories. The advancement in CGI and VFX has also made it possible for Indian filmmakers to realistically depict these mythical transformations, something that was often lacking in earlier attempts.
Another reason creature features hold promise is their versatility. They can be horror-thrillers, tragic love stories, comedy capers, or even social allegories. Stree commented on gender dynamics, Bhediya had an environmental message, and Thama is expected to explore themes of identity and acceptance.
A Future of Monsters and Myths
With Bhediya 2 already announced , it's evident that Bollywood producers are invested in building a new-age horror-fantasy franchise model. These films don't just exist in isolation but are envisioned as parts of a larger, interconnected supernatural world — something akin to Hollywood's MonsterVerse.
Additionally, streaming platforms like Netflix and Amazon Prime have also begun exploring Indian folklore-based horror and fantasy shows, further normalizing the presence of supernatural creatures in modern narratives.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Hindustan Times
36 minutes ago
- Hindustan Times
14 years after death, Husain remains on saffron radar
MUMBAI: More than two dozen rare paintings by M F Husain will go under the hammer on June 12, evoking a sense of déjà vu. The Indian modernist has, over the years, drawn the attention of saffron outfits, not so much for his artistic genius but his bold and controversial depiction of Indian gods and goddesses and, on one occasion, Bharat Mata (Mother India). It is this sense of outrage accompanied by protest that has returned 14 years after the artist's passing. The 25 Husains to be auctioned on June 12 have been caught in legal crosshairs. These paintings were secured by the National Agricultural Cooperative Marketing Federation of India Ltd (NAFED) as part of a case involving an unpaid loan of ₹236 crore by industrialist Guru Swarup Srivastava's Swarup Group of Industries. The artworks are part of Husain's 'Our Planet Called Earth' series and titled under the auction theme 'MF Husain: An Artist's Vision of the XX Century'. The price they fetch at the auction, at the Pundole Art Gallery, will contribute to the recovery of the loan default. Srivastava in 2004 had commissioned Husain to paint 100 works, for ₹1 crore each. The artist, aged 90 then, completed 25 paintings in the series. In 2006, the Central Bureau of Investigation (CBI) initiated a probe into the Swarup Group for alleged misappropriation of ₹150 crore from a ₹236-crore loan from NAFED. In 2008, a tribunal permitted NAFED to secure assets of ₹100 crore, including the Husain paintings. The artworks have been locked up in a bank vault since. Now, the Hindu Janajagruti Samiti, which has raised its voice against Husain's work before, has called for a ban on the June 12 auction. Claiming that Husain has hurt Hindu and national sentiments, the outfit has warned of 'strong public protest' if the auction goes through. A delegation of the samiti has submitted a memorandum to the office of the Chief Minister of Maharashtra, Mumbai Police Commissioner and the District Collector, demanding a ban on the auction. The samiti and other right-wing outfits were particularly enraged and called for Husain's arrest several years ago, when he exhibited a painting titled 'Bharat Mata'. The artwork depicted the map of India as an unclothed female figure that bore the names of Indian cities on her body. Saffron outfits and activists vandalised Husain's shows in several India cities, and the artist eventually apologised for hurting people's sentiments, although he claimed the name 'Bharat Mata' had not been assigned to the painting by him. Nevertheless, a legal battle ensued and, in September 2008, the Supreme Court dismissed a petition against Husain, stating the painting was a 'work of art'. But repeated conflicts with saffron outfits and hundreds of complaints filed against him forced Husain to leave India in 2005. He died in London in 2011. 'He deliberately painted vulgar and obscene images of goddesses Saraswati, Parvati, Ganga and Yamuna, thereby gravely hurting the sentiments of millions of Hindus in the world. Over 1,250 police complaints were filed across India against these offensive depictions… Holding an auction of Husain's paintings is like indirectly supporting his previous anti-national and anti-social acts. Glorifying such individuals under the guise of 'artistic freedom' is unacceptable,' said the letter submitted by the samiti. Sunil Ghanwat, state coordinator of the Hindu Janajaruti Samiti, said, 'Legal action should be taken against individuals, organisations or galleries involved in displaying or selling such works. The dissemination of artwork that insults national or religious sentiments must be prohibited. Additionally, the insulting painting of Bharat Mata should be officially declared as anti-national and destroyed.' Asked if they had information that some of those controversial paintings were to be auctioned, Ghanwat said they were not protesting any paintings in particular; they were opposing the artist Husain. Dadiba Pundole from Pundole Art Gallery said, 'The court has ordered us to conduct the auction of Husain's paintings. It will be conducted as per schedule. If anyone has any objections, they are free to go to court.'


News18
an hour ago
- News18
Sonam Kapoor Turns 40: How Bollywood's Style Star Ruled Global Fashion
Last Updated: Sonam Kapoor Ahuja is one of the fashion divas of Bollywood and a globally celebrated fashion icon. As she turns 40, we look back at her journey. Happy Birthday Sonam Kapoor: Sonam Kapoor Ahuja is undoubtedly the fashion trendsetter of Bollywood. Born to parents Sunita and Anil Kapoor, Sonam has left an impressionable mark with her distinctive style. Sonam, who debuted with a Sanjay Leela Bhansali directorial in 2007, is also known to speak her mind and has often had to face trolling because of it. Her evolution from a Bollywood actor to an international fashion icon was the result of her passion for style and cultural representation. Sonam, who was Bhansali's assistant director on Black, made sartorial choices that often blend traditional Indian attire with contemporary fashion. Ahead of the actor's 40th birthday on June 9, here's a look back on her journey from an actor to a global fashion icon. Sonam Kapoor's Journey Sonam Kapoor, who began her career with Saawariya, got her first commercial success in 2010 with I Hate Luv Stories. However, she played repetitive characters after starring in the rom-com opposite Imran Khan. However, Anand L Rai's Raanjhanaa gave her a fresh start. Balancing her Bollywood career, the actor was crafting a unique fashion narrative on the side. In collaboration with her sister Rhea Kapoor, the Bhaag Milkha Bhaag actor launched a high-street fashion label RHESON to make high fashion accessible to the youth. Kapoor Ahuja turned heads at international events like the Cannes Film Festival; in 2011, she debuted on the French Riviera in a vintage Jean Paul Gaultier gown. Her bold fashion choices resonated with the audience across the world. The Ek Ladki Ko Dekha Toh Aisa Laga actor, in 2024, was named as Dior's first South Asian global ambassador. Interestingly, her connection with the brand goes back to her 2010 film Aisha, which was loosely based on Jane Austen's Emma. In that film, Kapoor Ahuja seamlessly wove luxury fashion into Bollywood's costume design. Sonam Kapoor Ahuja actively supports home-grown labels which focus on organic and upcycled materials, setting new standards for eco-friendly glamour in the industry. Sonam Kapoor Ahuja on her style Kapoor Ahuja's journey is not just about her wardrobe; it is about sharing her story and expressing her identity. In a conversation with the Times of India, she expressed that fashion is a powerful means of self-expression, allowing her to connect with her roots while embracing modernity. Her style often pays homage to Indian culture while incorporating contemporary designs, creating a beautiful blend that bridges Eastern traditions with Western fashion trends. As she continues to grace global platforms, Kapoor emerges as a beacon of cultural pride and innovative ideas in fashion. First Published: June 09, 2025, 07:15 IST


Hindustan Times
an hour ago
- Hindustan Times
Miti Adhikari: Kolkata boy who engineered the sound of rock gods
Mumbai : Miti Adhikari, a producer and sound engineer who worked with the British Broadcasting Corporation for over three decades, recording and mixing original tracks with everyone from Bruce Springsteen to Beyonce that would then be broadcast on television and the radio, died on Sunday. He was 69. Adhikari –– who gained the moniker Silver Fox –– turned his attention to the Indian indie scene in the late 2000s, when he worked on the songs of his cousin Neel Adhikari's band, Class Apart. The duo even had an outfit called MANA (formed using their initials). Adhikari worked on albums for The Supersonics, Menwhopause, Cassini's Division, Agnee and Bengali rock band, Jack Rabbit, shuttling between the UK and India. 'I don't understand the Bollywood scene much, but I love the underground scene. I've brought a travelling studio down here and I want to work with the bands to help in the evolution of the scene. At some stage, I want these bands to match their international counterparts,' he told the Hindustan Times in 2010 interview. Adhikari grew up in Kolkata, took his first guitar lessons with legendary blues artist Gussy Rikh, played the bass guitar and sang lead vocals in a rock band called Mahamaya. In 1977, at the age of 20, he went to London and after trying for months, was finally selected to join the BBC as a trainee sound engineer. The BBC would call bands to its famed Maida Vale studios for exclusive sessions, where they would record four songs in 12 hours. Adhikari's job, as he told HT in 2010, was to be 'a fresh pair of ears in the studio environment, who would give them a direction'. Adhikari recorded and mixed the song the same week after which it received extensive airtime. Bands often asked him to produce other songs for their albums. His repertoire included rock and indie legends including Nirvana, Pearl Jam, Arcade Fire, and the Foo Fighters. He also lent his expertise at the Glastonbury, T in the Park, and Reading and Leeds music festivals. Adhikari, who was based in Goa, is survived by his wife, Sam Adhikari, and his cousin Neel, among other family members.