In a country where independent film companies rarely survive the first few years, First Ray Films has quietly done the unthinkable — thrived for a decade. And not by playing safe. This indie house has built its reputation on high-concept, first-of-their-kind stories — from India’s first social media thriller Mona_Darling (2016), to the country’s first mainstream LGBTQ+ road trip film Hum Bhi Akele, Tum Bhi Akele (2020), to the world’s first animal-lover vigilante actioner Lakadbaggha (2023).
First Ray Films is India’s only ‘start-up’ independent film production company to have carved a niche in delivering high-concept cinema and making space for themselves.
Now, as it enters its second decade, it isn’t slowing down, rather doubling up! The company just dropped a dynamic slate of six films over the next 12 months — three to release theatrically over the next six months and the remaining three go into production.
The line-up kicks off with Anshuman Jha’s directorial debut — the bizarre black comedy thriller — Lord Curzon Ki Haveli, followed by Harish Vyas’s heartwarming father-son coming off age tale Hari Ka Om and finally, the much-awaited sequel Lakadbaggha 2 which wrapped shoot earlier this year. The above films will be seeing a theatrical release over the next six months.
Alongside these theatrical releases, the studio will roll out three new productions which go on floors in 2026 with three debutant filmmakers in Hindi along with launching two fresh faces in a unique love story.
Coming up in 2026: three fresh productions — a new feature with award-winning firebrand filmmaker, a project titled Bajrangi with auteur Parth Saurabh (Pokhar Ke Dunu Paar), and the debut feature Ovi & The Monk from Emerson Boston Graduate Jasraj Padhaye.
“Independent filmmaking is about faith and fire,” says Anshuman Jha — actor, producer, and founder of First Ray Films. Speaking on the milestone, Anshuman adds, “I have always believed that films don’t fail, budgets do. For us to have survived for over a decade is a testament that audiences are willing to embrace stories that are fresh, disruptive, and honest. I am deeply grateful to our investors whose faith has kept us going, their belief proves that films can not only make a cultural impact but also be a profitable game in the long run. My hope is to turn it into an ecosystem that survives beyond me. We aren’t creating projects, we are creating honest cinema, in collaboration with talent from all around the globe, which will hopefully stand the test of time.”
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