BREAKING: Max Marketing to present Zee Studios’ Marathi blockbuster Dasavatar in Malayalam, a first in Indian Cinema

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In a groundbreaking move that redefines regional film exchange in India, Max Marketing has made cinematic history. The company will be presenting Zee Studios’ recent Marathi blockbuster Dasavatar for the first time ever in Malayalam cinemas — without dubbing the film into any major national language like Hindi or English. This marks a historic first in Indian cinema — where a regional film will be released directly in another regional language market, not as a Hindi or pan-India version, but as a culturally rooted cinematic experience intended for another linguistic audience. Directed by Subodh Khanolkar and produced by Ocean Film Company and Ocean Art House, Dasavatar will hit Malayalam cinema screens on November 21, 2025. This unprecedented initiative bridges India’s vibrant regional film industries in a way never attempted before. For decades, cross-regional film releases have almost always passed through a national filter — either dubbed in Hindi or adapted for pan-India audienc...
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The Animal Kingdom review – Romain Duris leads post-Covid fantasy of virus-triggered mutants

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Duris stars as a father protecting his son, who may or may not be mutating, in Thomas Cailley’s well-crafted thriller

Thomas Cailley’s sci-fi fantasy has too much sensitivity and good taste to be the proper horror-thriller or creature feature that it almost resembles. It’s a drama of emotions and ideas about post-Covid society – which is welcome enough – but with a dash of prosthetics and CGI and some scares. I felt something very similar about Bong Joon-ho’s monster film The Host back in 2006: the worthiness operates against the excitement and I found myself wanting something more gleefully crass and shocking, something more ironic or thrillingly callous. The Animal Kingdom seems squeamish about going for the jugular in the way a proper genre movie would – or a Marvel movie.

The scene is a France of the near future in which there has been an outbreak of some disease which has caused humans to mutate into animals. The government is just about on top of the situation, having established high-security clinical holding units to confine the “bestioles” (“critters”) as local people heartlessly call them. François (Romain Duris) is a stressed guy keeping his emotions in check since his wife became a “bestiole” and now has to be a single-dad to his tricky teen son Émile, in which role Paul Kircher indicates that he might be succumbing to the disease with unnervingly subtle bovine and simian mannerisms, camouflaged within classic adolescent sulkiness. Adèle Exarchopoulos rather phones in the role of a uniformed female cop who appears to have a tendresse for François.

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