Let’s face it—most of the time, we’re just recycling the same stories in different wrappers. Franchises. Reboots. Safe bets. So when a new director comes out swinging and manages to say something with their debut, it’s hard not to sit up and take notice. These aren’t just first films. They’re loud, confident introductions—sometimes messy, sometimes brilliant, but always interesting. Here are a few that stuck with me:
Lin-Manuel Miranda – Tick, Tick… Boom! (2021)
It’s one thing to write Hamilton. It’s another to direct a musical based on Jonathan Larson’s life and do it justice. Miranda’s first film as a director is a deeply personal, emotional ride through the highs and (mostly) lows of being an artist in NewYork.
You can feel Larson’s restlessness in every shot. And Andrew Garfield? He doesn’t act—he bleeds on camera. It’s not flashy. It’s not trying to win you over. It just is—and that’s what makes it beautiful.
Adele Lim – Joy Ride (2023)
Adele Lim (yep, Crazy Rich Asians) uses humour to explore identity, friendship, and the weird experience of feeling like a foreigner in your own culture. It’s raw. It’s messy. It’s ridiculous in parts. But it also says things a lot of diaspora films don’t—and that makes it stick.
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Anna Kendrick – Woman of the Hour (2024)
This one surprised me. We’ve seen Anna Kendrick as the funny, awkward lead a dozen times—but directing a thriller based on a real-life serial killer? That’s a sharp left turn. And she handles it like a pro. Woman of the Hour is eerie, sharp, and lingers long after it’s over. There’s a tension in the film that never really lets you relax, and that’s what makes it good.
Gauri Shinde – English Vinglish (2012)
If you’ve ever seen your mom or aunt hesitate to speak English at a restaurant, this one hits hard. Shinde doesn’t over-dramatise. She lets the small moments do the heavy lifting. Sridevi’s Shashi isn’t a victim—she’s just… stuck. And watching her quietly rediscover her self-worth? That’s real cinema. This film made people cry in packed theatres—and hug their moms afterwards.
Neeraj Ghaywan – Masaan (2015)
This film? It doesn’t shout. It whispers. But somehow, you still feel it in your bones. Set in Varanasi, Masaan is soaked in pain, silence, and the things we don’t say out loud. It deals with caste, shame, grief—and yet, it never feels preachy. Just… honest.
Ghaywan doesn’t rush. He lets you sit with the discomfort. And honestly? That’s what makes it unforgettable. These directors didn’t try to make perfect films. They made real ones. And that’s way harder.
Writer – Subham Choudhary