The Indian independent scene is looking vibrant than ever, with new storytellers and unique ideas surfacing in the space. The year that went by, saw a fine assortment of films from varied genres. These aren’t festival favorites alone but have resonated with audiences and film fans, locally and globally. We pick some of the bravest and best Indian films of the year that refused to play by the book (in no particular order):

1. Waiting

Director: Anu Menon

A wonderfully written, executed and acted piece of work, Waiting is a finespun concoction of a variety of elements – love, life, relationships. The film makes you ponder over the fragility of relationships despite the connected worlds we live in. It explores the ever widening generation gap through its sixty and twenty somethings Shiv and Tara. And blends all these elements into a heartening, un-preachy, sometimes sad, sometimes funny film.

Much of what the film ends up being has to be accredited to the performances. Rajat Kapoor delivers any part with splendid effortlessness. I wonder if Naseeruddin Shah ever needs to give a retake. Kalki displays angst and impatience with an equally admirable mad intensity as the calm composure she dons while learning to cope with her reality. (Read full review here)

2. Parched

Director: Leena Yadav

Leena Yadav’s Parched is a tale of three women, from a subjugating patriarchial society with a thirst for life and freedom. On the first look, the film seemed to be an Indian treatment of Ridley Scott’s Thelma and Louise. But the writing keeps the tale grounded to the atmosphere, making it easier to relate with the emotions of shackled characters. Director Leena makes sure to focus on the harsh realities faced by the women, yet emphasizes on their friendship, compassion and solidarity. The wonderful cinematography finds both abrasiveness and vibrance in the arid desertscape. Although the West may not have such a tightly controlled male-dominated society, the theme of domestic violence lends universality to the narrative. (By Arun Kumar)

Parched (2016) Review: Feminist Daring At Its Best

3. Kaul – A Calling

Director: Aadish Keluskar

A school teacher starts losing his sanity after witnessing a baffling event that takes him on a journey of unlearning everything known to him about humans and God. Kaul – A Calling is a highly experimental film that will be a rewarding experience if you peel each layer of it. It’s a milestone film that relies heavily on an exploratory audio-visual medium that is rare in Indian cinema. Kaul takes a vehement jibe at the superficial way of living and how we perceive God. The film is a meditation on sanity that challenges our confined thinking by the decree of society and thrashes the conventions of normalcy. (By Nafees Ahmed)

4. Island City

Director: Ruchika Oberoi

Ruchika Oberoi’s intriguing anthology film features three short stories which explore the impact of urban living, loneliness and technology on everyday lives. Think of it as Black Mirror-style set of tales on modern Indian lives which boasts of a strong cast with the likes of Vinay Pathak, Tannishtha Chatterjee and Amruta Subhash. The film makes for an engaging watch that is equally thought-provoking, with the story titled Purushottam being one of best things I saw last year. The film’s ability to be absurdly entertaining whilst shedding light on some infinitely relatable themes makes it the unique, refreshing experience Hindi cinema needs far more of. (By Suchin Mehrotra)

5. Maroon

Director: Pulkit

A dark psychological drama about a man whose wife goes missing, Maroon is more of a character study than a who-dunnit mystery. The indie thriller is well written and actualized, mostly because of a remarkable performance from protagonist Manav Kaul. (who delivered a memorable brief role in his debut feature Citylights (2014). Shot entirely in a single house, the film is so arresting it puts you inside the protagonist’s head, making you empathise with and feel for him, particularly as the character begins to unpeel, unravel. The climax may leave you with a lot of questions, but look closer. There are enough hints scattered throughout the film. If this a debut attempt of writer-director Pulkit, I can only wonder what more he has in store for us.

6. Dhanak

Director: Nagesh Kukunoor

Dhanak trails young, orphaned siblings Pari (Hetal Gada) and Chhotu (Krrish Chhabria) who set out on a journey, with a dream in their heart. Like his other films, Nagesh Kukunoor’s Dhanak seems straight out of a novel. Fairy tale, dream-like, magical and deeply satisfying. There’s something equally majestic and dramatic about the backdrop the director places his stories in. The settings have a character of their own.

Set in Rajasthan, Dhanak is lush visual delicacy, courtesy cinematographer Chirantan Das, who beautifully, captures the land of sand and sun.

7. Thithi

Director: Raam Reddy

Raam Reddy’s excellent debut feature Thithi is a rare film. There’s great interest in providing textures (ingrained with realism) to the frame and imbuing character details rather than chasing greater narrative aspirations. The film does have a central familial turmoil and a string of conflicts, but what Raam wants us to witness is simplicity and purity of character. Thithi may seem a bit hollow for those expecting broader realization of narrative conflicts. The film is anything but hollow. I am not saying the film’s form is utterly flawless. There might be few unsatisfying aspects. But it takes no didactic approach to comment on the inbred patriarchal issues or other social issues, common in Indian villages. That’s what makes Thithi more profoundly layered. (Read full review here)

Recommended: 9 Best Kannada Films Of 2016: ‘Thithi’ To ‘Kirik Party’

8. Autohead

Director: Rohit Mittal

The docufiction was shot in all of 14 days with a skeleton crew of 12 people. It was made on a shoestring budget with money borrowed from family and friends, until producer Amit Verma came on board.

Autohead involves a documentary crew that trails a sexually frustrated auto driver Narayan (Deepak) and his macabre exploits. The film is as much a character study as a dig at cinematic realism, bringing into question the morals and ethics of the crew filming it. Mockumentaries are a rarely explored form in India and debutant director Rohit Mittal does a deft job navigating an engaging storytelling experience through a powerful debutant lead Deepak Sampat. (By Mansi Dutta)

9. U-Turn

Director: Pawan Kumar

Kannada independent filmmaker Pawan Kumar’s sophomore directorial effort U-Turn was a watchable thriller. It starts off well, gracefully introducing the lead character Rachana, a young journalist trying to make ends meet. The major backdrop for the film is the Double Road flyover in Bengaluru. Rachana works on the cover story of those who make an illegal u-turn on this flyover. Kumar finely builds a murder/mystery plot in the film’s first half. However, too many insipid twists and an unconvincing resolution gives a little unsatisfactory movie experience. (Read full review here by Arun Kumar)

10. Lipstick Under My Burkha

Director: Alankrita Srivastava

In the same mould of Leena Yadav’s Parched, Lipstick Under My Burkha explores the interconnected lives of four middle class women at different life stages, and their struggle with sexual liberty and freedom in a patriarchal society which weighs them down and limits them in every way. Produced by Prakash Jha, the film is bold, refreshing and armed with a powerful message to the extent that you wish it’s a film every Indian is forced to see. (By Suchin Mehrotra)

Lipstick Under My Burkha Review: Of Dreams, Desires, Defiance

11. Chauthi Koot

Director: Gurvinder Singh

Gurvinder Singh’s film doesn’t focus on the horrid spectacle that was Punjab in the early 1980s. Several films have already captured the deaths and the aftermath of the infamous Operation Bluestar. Chauthi Koot focuses on bringing the audiences into the life of a Sikh family, living in the shadows of fear, doubt and remorse with its beautiful yet haunting images. To a regular moviegoer, the imagery in Chauthi Koot may often feel random and an exercise in obscure experimentalism. But for those who wish to consume cinema in its rawest, most delicately carved form, this is an essential watch. (By Shikhar Verma)

12. Nil Battey Sannata

Director: Ashwini Iyer Tiwari

Ashwini Iyer Tiwari’s shining directorial debut tells the touching tale of a single mother and her 15 year old daughter. The film has wonderfully written characters and a theme, which advocates on the vitality of education. However, the narrative on some occasions gets a little high on preachiness. Swara Baskar in her first lead role gives a very mature performance. Pankaj Tripathi as principal Srivastava is an absolute delight to watch. Nil Battey Sannata does lack emotional shades in the beginning of the story, which is made up for in the second half.

Yet, the film would work fine for those seeking feel-good cinema with an engrossing message. Nil Battey Sannata was remade in Tamil titled Amma Kanakku. (By Arun Kumar)

For the keen, Thithi, Dhanak, Autohead, U-Turn and Maroon are streaming on Netflix.