Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Cannes 2025 took an emotional turn when Denzel Washington was presented with an unexpected Honorary Palme d’Or just before the premiere of Highest 2 Lowest, his latest film with long-time collaborator Spike Lee. The moment came as a surprise not just to audiences, but to Washington himself.
The announcement was made by Cannes festival director Thierry Frémaux after a career-spanning tribute reel played at the Palais. Spike Lee, who has directed Washington in five films, stepped on stage to hand over the award personally. “This is my brother,” Lee said, pulling Washington into a warm embrace. The audience responded with a long-standing ovation.
Spike Lee presents the Honorary Palme d’Or to his longtime collaborator Denzel Washington Twitter/Absoluto Cine
Washington, visibly moved, called the moment “completely unexpected.” “I’m emotional right now,” he told the crowd. “To be back here with Spike, to make another film together, I’m grateful. Truly grateful.”
The film they’re reuniting on, Highest 2 Lowest, is Lee’s take on Akira Kurosawa’s 1963 classic High and Low. Washington plays King David, a music mogul caught in a kidnapping mix-up involving his son and his driver’s child. The cast includes Aubrey Joseph, Elijah Wright, Jeffrey Wright, A$AP Rocky, Ice Spice, and Wendell Pierce. The film is being shown out of competition at Cannes and will release in cinemas on 22 August before streaming on Apple TV+ in September.
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This is only Washington’s second time at Cannes. His first was over three decades ago, in 1993, for Much Ado About Nothing. The Honorary Palme d’Or is rarely given, only 22 recipients since 2002, and even fewer have received it without prior announcement. The last time this happened was in 2022, when Tom Cruise was surprised with the honour for Top Gun: Maverick.
Washington’s film legacy is already packed with milestones: two Oscars, a Tony Award, a Presidential Medal of Freedom, and multiple Oscar nominations including for Malcolm X, Flight, Fences, and The Tragedy of Macbeth. But this Cannes honour adds another rare jewel to his crown.
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The award also landed on a symbolic date: 16 years to the day after Do the Right Thing, Lee’s breakthrough film, made its explosive Cannes debut. Monday night wasn’t just a celebration of Denzel Washington, but a nod to a creative partnership that continues to shape cinema even today.
Bollywood horror has gone mainstream: bigger budgets, big stars, family audiences.
Roots: Mahal (1949) to the Ramsay Brothers' cult run of the 1970s–80s.
Modern hits pair folklore with comedy, as seen in Tumbbad, Stree, Munjya, and now Thamma & Maa.
Technical leap: prosthetics and CGI have "gone to the next level"; budgets now reach mainstream scale.
Remember when Bollywood horror meant creaky doors in a haunted haveli and a woman in a white sari? Forget it. We are in an era where a ghost's main ambition is not revenge, but finding a wife, where ancient mythology collides with suburban kitchens, and a mother's love can literally summon a goddess. The genre has exploded into the mainstream, and clearly everyone is buying a ticket.
The horror revolution: How Bollywood turned ghosts, goddesses, and gore into gold Instagram/thammamovie/netflix_in/maddockfilms
Where did this all begin?
The lineage is long. Kamal Amrohi's Mahal (1949), a chilly, melodramatic original, is often cited as Hindi horror's starting point. The Ramsay Brothers then carried the torch through the 1970s and 80s, churning out roughly 30 low-budget creature features that made haunted havelis a cult staple. Their old formula was simple: lurid gore, sex, and cheap shocks because "blood and sex pulled crowds."
As Deepak Ramsay puts it, "There are new stories, fresh talent, and all of this is leading to a resurgence. Films that were once niche are turning out to be blockbusters."
Kamal Amrohi's Mahal Youtube Screengrab
Why is Bollywood horror trending now?
Two things: smarter storytelling and better tech. Filmmakers stopped copying Western ghosts and started mining local myths, as seen in Tumbbad and Stree, and they mixed scares with laughs.
"The moment you get scared, your first reaction after the shock is to laugh," Ram Gopal Varma says, and that laugh is the neat trick, making scares sharable.
Aditya Sarpotdar explains the appeal bluntly: "There is a huge audience wanting to watch such movies. When catering to mass audiences, humour becomes key." His Munjya proved it: "Children pulled their parents to theatres." You cannot get more mainstream than that.
For decades, horror was the B-movie cousin no one wanted to acknowledge. Big stars stayed away, the effects were cheap, and an 'Adults' certificate locked out half the family audience. But not anymore. Maa (June 2025) saw Kajol in a mythic, bloody role that shocked and thrilled the audience. Thamma (Diwali 2025) is being billed as "a bloody love story" with Ayushmann Khurrana and Rashmika Mandanna in a vampire-romance that pairs fangs with dance numbers. Sequels and studio universes hits like Stree 2, Chhorii 2, and lighter fare like The Bhootnii keep the pipeline full.
Deepak Ramsay even points to the tech shift: "From as little as £20,000 to make a horror film, now budgets are closer to £7.2 million."
Veterans say prosthetics and CGI have "gone to the next level," so monsters finally look convincing.
Bollywood horror is having a moment, and it's brilliant
However, the quick, messy truth is the genre still trips; it suffers from a tonal wobble and silly beats, but it is honest. Horror has stopped hiding at midnight and is selling tickets at matinées. Directors joke about the next move. "I would love to see Shah Rukh Khan attempt horror," says Sarpotdar, but the point is clear. What was once pulpy trash has become a lively, profitable stretch of mainstream cinema. It is rough around the edges, loud, sometimes ridiculous, and that is exactly why it is working.
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