'Ratra Aarambh', 'Devrai', 'Natsamrat': How Marathi films have explored the human psyche

Marathi films have long been celebrated for their ability to tell stories rooted in cultural authenticity while also fearlessly exploring deep human emotions. Unlike Bollywood and most of the South films that often chase stardom, Marathi films are driven by content and substance.

Mahesh Manjrekar once remarked that “in Marathi, people never run after stars… people go by content,” and this philosophy explains why Marathi filmmakers have so often ventured into the terrain of the human psyche. In a recent interview, veteran actor Sachin Pilgaonkar highlighted how Marathi cinema excels when it encapsulates the essence of Maharashtra’s culture. “I am thrilled to see Marathi cinema challenging Hindi cinema. The unique cultural values embedded in Marathi films resonate deeply with audiences in ways that Hindi and English films sometimes don’t,” he told IANS.

Pilgaonkar recently presented 'Sthal,' written and directed by Jayant Digambar Somalkar, a powerful film on the realities of arranged marriages in rural India that has earned global recognition.Even actress Jaya Bachchan praised it as “true cinema,” calling it a film that must be “seen and felt.” This ability to probe society and the individual with empathy is what sets Marathi cinema apart. Beyond capturing cultural realities, many Marathi films have boldly entered the realm of psychology, becoming case studies in how cinema can mirror the human mind.

Let’s explore and revisit some epic Marathi films that delve into schizophrenia, dementia, childhood loneliness, philosophy, and the psychological complexities of aging.

Ratra Aarambh

Ratra Aarambh (1999), directed by Ajay Phansekar, is among the first Marathi films to depict schizophrenia with sensitivity. Dilip Prabhavalkar delivers a sensitive and powerful performance as Prabhakar Phadke, an ordinary man whose life slowly unravels as delusions take hold.

By day, he blends seamlessly into the world around him, but by night, his mind conjures a vivid alternate reality where he imagines himself as a blind industrialist surrounded by conspiracies. His gradual descent into this world eventually leads him to a mental asylum, offering a poignant glimpse into the fragile boundaries of the human mind.

The film avoids sensationalizing his condition, instead inviting audiences to empathize with those living with mental illness.

The supporting cast, including Surekha Kudchi, Dilip Kulkarni, Anand Abhyankar, Deepak Shirke, and Pradeep Patwardhan, adds depth, showing how family and society grapple with the challenges of mental health. A precursor to Devrai, Ratra Aarambh remains a landmark in Marathi cinema, celebrated for its psychological realism and emotional honesty. Looking ahead, Dilip Prabhavalkar returns to the big screen in Dashavatar, releasing on September 12, 2025, alongside Mahesh Manjrekar.

From the trailer, the film promises to explore another complex facet of the human mind and its intricate connection with society.

Devrai (2004)

Directed by Sumitra Bhave and Sunil Sukthankar, Devrai remains one of the most moving explorations of schizophrenia in Indian cinema. Atul Kulkarni delivers a brilliant performance as Shesh, a gifted man plagued by paranoia and hallucinations. He becomes obsessed with the idea that the sacred grove—or devrai—holds mystical secrets only he can comprehend.

As his condition worsens, his sister Seena (Sonali Kulkarni) tries to protect and support him, even as society reduces him to the label of “mad.

” The film dismantles myths around mental illness, showing both the torment of the patient and the burden on caregivers.

Astu (2013)

Also directed by Bhave and Sukthankar, Astu portrays Alzheimer’s disease with tenderness and honesty. Mohan Agashe plays Dr. Shastri, a retired Sanskrit scholar who slowly drifts into dementia.

One day, he wanders away and is taken in by a family of street performers. His daughter Ira (Iravati Harshe) desperately searches for him, torn between grief, helplessness, and compassion. The film is not just about memory loss but also about the invisible struggles of caregivers.

In its quiet, poetic way, Astu becomes a meditation on patience, acceptance, and the fragile ties that bind families.

Naach Tuzhach Lagin Haay (2012)

Milind Shinde’s bold experimental film 'Naach Tuzhach Lagin Haay' takes Marathi cinema into rarely explored psychological and philosophical territory.

Featuring Milind Shinde, Chhaya Kadam, Vaishali Salvi, and Namrata Awate, the story fuses human relationships with debates on Freud’s theories of unconscious desire and Darwin’s ideas of evolution. The film, controversial at its time and even reportedly facing censorship hurdles due to its provocative themes, as it reportedly deals with necrophilia, examines whether human behavior is shaped more by primal instincts or by evolved moralities.

Unlike conventional films on mental health, this one treats psychology as a philosophical lens to question society itself.

Killa (2014)

Avinash Arun’s Killa is a delicate, semi-autobiographical film that explores the psychology of childhood. Chinu (Archit Deodhar), an 11-year-old boy, has recently lost his father and moved with his widowed mother (Amruta Subhash) to a new town. Overwhelmed by grief and the anxiety of adjustment, he struggles to fit in until he slowly discovers friendship and belonging.

Parth Bhalerao’s performance as Chinu’s mischievous classmate adds a sense of innocence and warmth.

Killa captures how children process fear, grief, and resilience—often silently. It’s a rare film that makes adults relive their own childhood transitions.

Natsamrat (2016)

Adapted from V.V. Shirwadkar’s classic play, Mahesh Manjrekar’s Natsamrat is a towering study of ego and aging. Nana Patekar embodies Ganpatrao Belwalkar, a legendary stage actor who retires but cannot let go of his identity.

His artistic ego collides with the harsh realities of aging and the apathy of his family. Once adored, he now finds himself lonely and irrelevant. With Medha Manjrekar and Vikram Gokhale delivering equally strong performances, the film becomes a poignant exploration of late-life depression, dignity, and the search for meaning when applause fades away.

From Devrai’s schizophrenia to Astu’s dementia, from 'Naach Tuzhach Lagin Haay’s philosophical daring to Killa’s tender portrayal of childhood, and Natsamrat’s study of aging, Marathi cinema has consistently treated the human psyche with rare sensitivity.Despite being so rich in content, Marathi films often fail to reach the audience n a larger scale. In an exclusive interview with ETimes, veteran actor Nana Patekar had once shared his thoughts on the challenges faced by Marathi cinema, particularly its budget constraints, and stressed the importance of expanding its reach through Hindi dubbing. “The problem with the Marathi industry is the budget. When South Indian films are dubbed in Hindi, why not Marathi films? Not every South film is great, but they still find audiences because they are dubbed,” he said. Highlighting the cultural richness of Marathi cinema, Patekar cited the classic Un Paus: “If you watch Un Paus, you’ll notice South Indian cultural elements. We should have the confidence to tell producers, ‘Please dub this in Hindi.’

I’m sure there will be an audience.” He also referenced Bollywood director Anil Sharma’s admiration for Marathi filmmaking: “Our Marathi directors are so talented, and their writing is incredibly realistic. When Hindi audiences watch Marathi films, they easily connect with the stories.” Patekar, known for his role in Natsamrat, urged filmmakers to promote their content beyond regional boundaries. “Even with Natsamrat, we couldn’t dub it in Hindi due to language differences. But directors should ask producers to at least dub films instead of reshooting them. That way, we can definitely reach more viewers,” he added.