10 Best Hindi Movies Like Tumbbad

“Nagina” stands as a quintessential example of Hindi cinema's engagement with indigenous folklore, specifically the Ichchadhari Naagin myth. While its tone leans more towards fantastical romance than “Tumbbad's” grim horror, the film's strength lies in its commitment to its supernatural premise. Director Harmesh Malhotra crafts a visually distinct world, utilizing vibrant cinematography and memorable musical sequences to elevate the narrative. Sridevi's iconic performance as Rajni anchors the film, imbuing the shape-shifting cobra with both allure and menace. Its inclusion here highlights a foundational aspect of Indian supernatural storytelling: the potent blend of ancient myths with dramatic human conflict, creating a unique cinematic experience rooted in cultural belief.

Vishal Bhardwaj's “Makdee” offers a unique, child-centric foray into folk horror, echoing “Tumbbad's” ability to ground the supernatural in a specific cultural milieu. The screenplay cleverly weaves a tale of childhood mischief with genuine dread surrounding a local witch, creating an atmosphere that is both whimsical and genuinely unsettling. Bhardwaj's direction is precise, capturing the innocence and fear of its young protagonists, while the cinematography effectively establishes the rustic, slightly eerie village setting. It ranks here for its inventive approach to local legends, proving that horror can be effective even when viewed through a younger, more innocent lens, much like “Tumbbad” uses a child's perspective to introduce its dark world.

Anushka Sharma's production “Bulbbul” is perhaps the closest spiritual cousin to “Tumbbad” on this list, sharing its commitment to atmospheric gothic horror rooted in Indian folklore. Director Anvita Dutt crafts a visually stunning period piece, where every frame is meticulously composed, bathed in rich, often blood-red hues that evoke both beauty and dread. The screenplay masterfully blends supernatural revenge with poignant social commentary on patriarchy, giving its 'chudail' a compelling origin. Cinematography is exquisite, creating a dreamlike yet terrifying world. Its inclusion is paramount for its similar dedication to visual storytelling, mythological depth, and a dark, morally complex narrative.

Vikram Bhatt's “Haunted” marked a significant technical leap for Indian horror, being one of the first 3D films. While its narrative ambition sometimes outpaces its execution, the film effectively builds a sense of dread within its isolated mansion setting. The screenplay, though convoluted with time-travel elements, attempts to craft a unique origin for its malevolent spirit. Bhatt's direction focuses on jump scares and atmospheric tension, utilizing the mansion's gothic architecture to good effect. Cinematography, while serving the 3D gimmick, still manages to create some chilling visuals. It earns its place for its earnest attempt at a supernatural thriller, exploring a persistent, malevolent entity akin to the ancient evil in “Tumbbad.”

Rohit Shetty's “Golmaal Again” might seem an outlier, yet it represents Hindi cinema's popular engagement with the supernatural, albeit through a comedic lens. While “Tumbbad” delves into existential dread, “Golmaal Again” uses ghosts for laughs and lighthearted thrills. The screenplay cleverly integrates supernatural elements into its established comedic universe, providing a mass-market interpretation of the uncanny. Shetty's direction is typically bombastic, ensuring entertainment value. Cinematography is bright and vibrant, contrasting with the dark themes. It ranks here as a testament to how deeply supernatural narratives are woven into our cinematic fabric, demonstrating the genre's versatility from profound horror to broad comedy.

Rajkumar Kohli's “Jaani Dushman: Ek Anokhi Kahani” is a maximalist take on the shape-shifting snake myth, a direct descendant of films like “Nagina” but amplified for a new millennium. The screenplay attempts to weave a sprawling revenge saga involving multiple characters and a powerful ichchadhari naag. While often criticized for its over-the-top execution and dated visual effects, its ambition to create a grand mythological spectacle is undeniable. Kohli's direction is less about subtlety and more about delivering spectacle. Cinematography is functional. It finds its place here as a significant, albeit campy, example of Hindi cinema's enduring fascination with ancient folklore and powerful supernatural entities, much like “Tumbbad” draws from deep mythological roots.

“Great Grand Masti” is a prime example of how supernatural elements can be co-opted into vastly different genres within Hindi cinema, in this case, a sex comedy. While far removed from “Tumbbad's” gravitas, its inclusion highlights the pervasive nature of ghost stories in our narratives. The screenplay uses a 'femme fatale' ghost as the central comedic and erotic catalyst. Director Indra Kumar orchestrates a chaotic narrative focused on adult humor rather than genuine scares. Cinematography is standard for the genre. It ranks here not for its horror credentials, but for demonstrating the sheer breadth of films that incorporate supernatural beings, showcasing how even the most irreverent productions draw from the well of the uncanny.

Jennifer Lynch's “Hisss” was an ambitious, if ultimately flawed, attempt at an international creature feature rooted in Indian mythology, specifically the Nagin legend. The screenplay aimed for a dark, primal horror experience, focusing on the vengeful snake goddess. While its execution faced significant production challenges, leading to a disjointed narrative, the film's visual ambition and commitment to its mythological premise are noteworthy. The direction attempts to create a visceral, unsettling atmosphere. Cinematography often struggles with its visual effects but aims for a dark aesthetic. It's included for its bold, albeit imperfect, endeavor to bring a classic Indian supernatural entity to a global horror stage, echoing “Tumbbad's” unique mythological horror.

“Monster” presents a darker, more unsettling narrative, hinting at the monstrous within human nature or a literal creature, aligning with “Tumbbad's” exploration of inherent darkness. The plot description suggests a deep dive into the motivations behind heinous acts, potentially blurring the lines between psychological horror and the supernatural. While specific details are scarce, the title itself promises an encounter with something unnatural or profoundly disturbing. The film's inclusion here is based on its potential to explore the grotesque and the morally ambiguous, themes that resonate strongly with “Tumbbad's” unflinching gaze into human greed and its monstrous consequences. It represents a contemporary push towards darker, more introspective horror.

Sidharth Srinivasan's “Kriya” plunges viewers into a nightmarish odyssey of ritual magic and patriarchal dread, making it a compelling companion to “Tumbbad” for its unflinching darkness and cultural specificity. The screenplay is a relentless descent into occult horror, where ancient rituals dictate a terrifying fate. Srinivasan's direction is bold and uncompromising, creating an oppressive atmosphere of unease and dread. Cinematography is stark and effective, utilizing shadows and claustrophobic framing to enhance the horror. It ranks highly for its raw, visceral portrayal of ritualistic horror and its exploration of deeply ingrained patriarchal evils, echoing “Tumbbad's” ability to weave profound cultural commentary into its terrifying narrative fabric.