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RIP Nishikant Kamat: Top 5 movies of the filmmaker

Today, we got the sad news that filmmaker and actor Nishikant Kamat has passed away. He was battling with liver cirrhosis and it relapsed. A few days ago, he was admitted to a hospital in Hyderabad.

Kamat had not just made a mark in Bollywood but also in the Marathi film industry. Today, as he is no more with us let’s look at the list of top five movies helmed by the filmmaker.


Dombivali Fast (Marathi)

Nishikant Kamat made his directorial debut with the Marathi film Dombivali Fast in the year 2005. The movie went on to win many awards including National Film Awards for Best Feature Film in Marathi. In the year 2007, Kamat helmed a Tamil remake of Dombivali Fast titled Evano Oruvan. It starred R Madhavan in the lead role.

Mumbai Meri Jaan

The filmmaker made his Bollywood debut with the film Mumbai Meri Jaan in the year 2018. Starring R Madhavan, Soha Ali Khan, Irrfan Khan, Paresh Rawal, and Kay Kay Menon, the movie showcased the aftermath of Mumbai train bombings that took place on 11th July 2006. It went on to win Filmfare Critics Award for Best Movie.

Lai Bhaari

Riteish Deshmukh starrer Lai Bhaari is one of the most famous films of the Marathi film industry. The movie was directed by Nishikant Kamat and was critically acclaimed. It is one of the highest-grossing Marathi movies.

Drishyam

In 2015, Nishikant Kamat directed the film Drishyam which starred Ajay Devgn and Tabu in the lead roles. It was a remake of the Malayalam film of the same name. The edge-of-thriller was undoubtedly one of the best works of Kamat.

Madaari

His last movie as a director was 2016 release Madaari which starred Irrfan Khan in the lead role. The movie was a social thriller and though it didn’t get a great response at the box office, the film had received thumbs up from the critics.

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The Mummy

Relies on body horror, sound design and shock value over spectacle

X/ DiscussingFilm

How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

Highlights

  • Moves away from the adventure tone of The Mummy (1999) into possession-led horror
  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

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