The final week of October arrives with a streaming slate tailor-made for the festive and Halloween season, moving from an all-women criminal empire and a Diwali family reunion to supernatural obsession,
island folklore and workplace horror. Keerthy Suresh and Radhika Apte face off in Akka, a period crime drama set within a territory ruled by women for eight centuries. Obsession takes a seemingly irresistible romantic fantasy and twists it into a nightmare when magically induced affection turns dangerously possessive, while Meethe Mein Kya Hai brings Ritwik Bhowmik and Rohini Hattangadi into a family gathering where old disagreements refuse to remain politely buried for Diwali.
Elsewhere, Vijay Sethupathi plays a dreaded gangster trapped in a rather undignified predicament in Baaththa, Lee Jae-wook clocks into a workplace where leaving alive is apparently not guaranteed in Dead-End Job, and The One About Matthew Perry looks beyond the actor’s famous television persona through personal material and memories shared by those who knew him. From post-apocalyptic survival and murder mysteries to romantic deception and Scandinavian psychological intrigue, here is the complete OTT lineup arriving between October 26 and October 30.
Akka – Netflix, October 30
Power in Pernuru has belonged to women for eight centuries. In 1985, two formidable rivals are prepared to tear that legacy apart to decide who gets to wield it next.
Keerthy Suresh and Radhika Apte headline this YRF Entertainment period crime series as Queen Bhavani and Rudra, respectively. Both women occupy opposing ends of a struggle for control over a female-led criminal underworld that has flourished according to its own rules for generations.
Their rivalry goes beyond two individuals competing for a throne. Whoever prevails will inherit influence over a territory where power structures, loyalties and criminal authority have been shaped almost exclusively by women for hundreds of years.
As allegiances begin shifting and the battle for Pernuru intensifies, the series turns its fictional kingdom into an arena for ambition, betrayal and succession. Tanvi Azmi and Mahesh Manjrekar also feature in the ensemble.
Obsession – JioHotstar, October 30
There is an obvious problem with forcing somebody to fall in love with you: you have absolutely no control over what that love eventually becomes.
Director Curry Barker turns that premise into supernatural horror with Obsession, starring Inde Navarrette and Michael Johnston. The story follows a young man who gets his hands on a mystical object capable of making his crush reciprocate his feelings.
Initially, it appears that he has found an impossible shortcut around rejection. The fantasy does not last.
Her magically induced attraction begins intensifying beyond anything he intended, mutating from romance into possessiveness and eventually violent, destructive behaviour. What he wanted desperately to create becomes something he cannot switch off.
Following its theatrical run, the film makes its digital premiere in an uncut version available in both English and Hindi, turning romantic wish fulfilment into a cautionary nightmare about desire without choice.
Meethe Mein Kya Hai – Netflix, October 30
Diwali brings an extended family under one roof in Meethe Mein Kya Hai. Unfortunately for them, mithai is considerably easier to pass around than forgiveness.
Ritwik Bhowmik and Rohini Hattangadi anchor this Hindi family drama, which uses a festive reunion to bring several generations, and their unresolved disagreements, into the same increasingly crowded space.
What begins as a familiar holiday gathering gradually becomes an emotional reckoning. Generational differences resurface, old arguments acquire fresh ammunition and relationships that have survived largely through avoidance are forced into uncomfortable conversations.
Ayesha Raza and Gaurav Sharma also feature in the ensemble. Rather than treating Diwali simply as decorative backdrop, the drama places the festival’s rituals and expectations around a family discovering that coming home can revive old warmth just as easily as it can reopen old wounds.
Baaththa – Netflix, October 29
Vijay Sethupathi plays Baththavachalam, a feared gangster who has presumably escaped considerably more dangerous situations than the one that leaves him helpless in this Tamil comedy-drama.
A young boy accidentally locks Baththavachalam inside a school restroom.
It is an absurd predicament for a man accustomed to commanding fear, and director Balaji Tharaneetharan builds the film around the unexpected turn his life takes after that incident.
The situation punctures the intimidating mythology surrounding the gangster by putting him somewhere brute force and reputation offer surprisingly little assistance. With Vijay Sethupathi at the centre, Baaththa turns an ordinary accident into the starting point for an unusual collision between a feared criminal and a child’s world.
The One About Matthew Perry – Netflix, October 27
Arriving just before the third anniversary of Matthew Perry’s death, this documentary attempts to look at the actor beyond the character that made him globally recognisable.
Rather than building another retrospective exclusively around his television success, The One About Matthew Perry draws upon previously unseen personal material, memories from his family and accounts from longtime friends.
The documentary traces Perry’s career and enduring comedic influence while also exploring the more complicated private life that existed alongside fame.
The intention is to preserve the wit and talent audiences associated with Perry without reducing the man himself to his most famous performance, offering a more intimate portrait assembled partly through the people and material closest to his life away from the screen.
Balaraw: Blood Island – Netflix, October 29
A search for a missing mother takes a young woman somewhere maps offer little help in this eight-episode Filipino horror mystery.
Janine Gutierrez stars as a woman who travels to an uncharted island hoping to discover what happened to her mother. But the isolated location is carrying secrets considerably older than the disappearance that brought her there.
As her investigation progresses, family history begins intersecting with the island’s folklore. Stories that initially sound like local superstition acquire a more immediate and threatening significance, forcing her to question how deeply her own family is connected to the place.
Directed by Rae Red, the series combines a contemporary missing-person mystery with traditional Filipino myths, using the island’s isolation to steadily narrow the distance between family secrets and supernatural terror.
Apocalypse Z: New World – Prime Video, October 30
Surviving inside an apartment was difficult. Surviving what waits outside it is worse.
The sequel to 2024’s Apocalypse Z: The Beginning of the End continues the story of Manel in a world devastated by a rabies-like infection that transforms people into violently aggressive predators.
For a time, Manel has managed to remain barricaded inside his apartment with his cat. Isolation has protected them from the infected, but it cannot manufacture food. Once supplies begin running out, remaining inside becomes just as dangerous as leaving.
Forced to abandon their sanctuary, the pair venture into a landscape where ordinary infrastructure has collapsed and every encounter carries the possibility of violence. Adapted from the bestselling Spanish novels, the sequel expands the survival journey across both land and sea.
A Couple Of Lies – Netflix, October 30
Two couples swap homes expecting a temporary escape from ordinary life. Instead, each begins discovering exactly what the other has been hiding.
Emma Appleton, Fares Fares, Frida Gustavsson and Jakob Oftebro star in this four-part Swedish psychological thriller.
The holiday arrangement initially promises novelty and privacy. But living inside somebody else’s home means encountering the traces of a life its owners may not have intended anyone to examine too closely.
As unsettling discoveries accumulate, the house swap becomes a game of suspicion and manipulation. Betrayals surface, trust begins collapsing and both couples realise they may have entered the arrangement without understanding the people on the other side.
The temporary homes consequently become psychological crime scenes where every apparently insignificant detail could expose another lie.
Nocturne – Apple TV, October 30
Leaving homicide work behind does not guarantee murder will return the favour.
Liev Schreiber, Zazie Beetz and Stephen Graham lead this crime series adapted from Lars Kepler’s Joona Linna novels.
At its centre is a former homicide detective who relocates to a quiet Pennsylvania town, presumably putting the darkness of his previous profession behind him. That plan collapses when the community becomes the target of a dangerous serial killer.
There is one particularly troubling complication: the man believed to be orchestrating the crimes is already behind bars.
The investigation therefore becomes a psychological contest with a killer who appears capable of exerting lethal influence without physical freedom. For the former detective, the case also reawakens the personal toll of a profession he thought he had escaped.
Rudravanam PS – ZEE5, October 30
One murder and one missing person pull an honest police officer into the secrets buried beneath an apparently ordinary Telugu town.
Naresh Agastya leads this seven-episode crime thriller as SI Sivakumar, whose investigation initially revolves around two disturbing cases.
Following the evidence, however, reveals connections extending beyond individual crimes. Corruption, concealed relationships and longstanding secrets begin emerging from Rudravanam, complicating Sivakumar’s attempt to determine who can actually be trusted.
His reputation for honesty becomes particularly inconvenient in an environment where uncovering the truth may implicate people with a vested interest in keeping it hidden. Banerjee, Shiva Alapati, Sugali Siloni and Ramesh Konambhotla round out the cast.
Dead-End Job – Netflix, October 30
Most people complain that work is killing them. For the employees at the centre of Dead-End Job, that description becomes alarmingly literal.
Lee Jae-wook headlines this South Korean horror drama, which arrives on streaming following its premiere at the Busan International Film Festival.
The series takes the recognisable frustrations of working life and places them inside a supernatural environment where completing a shift is no longer simply about enduring irritating colleagues, deadlines or unreasonable demands.
As inexplicable terror invades the workplace, clocking out becomes an actual survival objective. The series uses the mundane rhythms and anxieties of employment as the foundation for horror, turning a place its characters already wanted to escape into somewhere they may physically be unable to leave.
Collision Course – Netflix, October 30
A bank robbery in 2013 Spain goes wrong before the getaway crew can even begin enjoying the spoils.
The criminals flee at high speed, only for their vehicle to crash. But the accident proves to be merely the beginning of their problems.
Once the plan disintegrates, suspicions within the group begin surfacing. Hidden motives and betrayals reveal that some members of the crew entered the robbery with agendas set in motion long before anyone walked into the bank.
Laia Costa, Karra Elejalde and Luis Zahera lead the crime thriller, which uses the failed getaway to strip away whatever trust existed among the robbers. With the original plan destroyed, survival depends upon understanding who betrayed whom before the authorities, or their own accomplices, catch up with them.
Obsess – Netflix, October 30
The supernatural and psychological become increasingly difficult to separate in this period horror series set in 1970s Kuwait.
Yagoub Alfarhan stars as Talal, who returns home following his father’s death. Instead of closure, the homecoming brings back Hessa, a woman from his past played by Haya Abdulsalam.
Talal begins experiencing disturbing visions of her, forcing him to confront memories and emotions he has never fully resolved.
But the question haunting him is whether Hessa’s presence originates inside his own mind at all. What can initially be explained as grief or guilt gradually begins resembling something supernatural, leaving Talal uncertain whether he is being punished by his memories or targeted by a genuine curse.
How To Ruin Diwali: Meet The Parents – Netflix, October 30
Few things threaten a relationship quite as efficiently as bringing two families together during a major festival.
Rosemary Zimu and Kyle Clark return as the South African comedy franchise trades another supposedly joyful occasion for spectacular social disaster.
This time, a meeting between parents becomes the source of the chaos. What should be a celebratory Diwali introduction rapidly deteriorates as cultural differences, family secrets and unfortunate social blunders begin accumulating.
Every attempt to restore normality only creates another opportunity for embarrassment, allowing the film to use the expectations surrounding a perfect festive gathering as fuel for increasingly uncomfortable comedy.
SCTV: The Greatest Show You’ve Never Heard Of – Netflix, October 30
Long before many of its performers became household names, Second City Television was quietly reshaping sketch comedy from Canada.
This documentary revisits the influential television institution through extensive archival footage and contemporary interviews, examining how what began as a comparatively local production developed an international comedic legacy.
Particular attention is paid to the original ensemble and the collaborative production process that allowed performers and writers to experiment with characters, formats and television itself.
Rather than simply assembling famous clips, the film traces the creative ecosystem behind SCTV and the influence its alumni and comedic sensibility would exert across film and television for decades afterward.
Drive – The Pretenders – Prime Video, October 28
A fake engagement becomes an unlikely route into competitive motorsport in this romantic drama from Amazon MGM Studios.
The story follows a struggling young race-car mechanic whose ambitions are considerably larger than the resources available to him.
Looking for a way to secure the support needed to move his career forward, he agrees to stage an engagement with a scandal-plagued public figure. The arrangement gives both parties something useful: he gains access to opportunities, while the relationship provides a convenient narrative for her public image.
The problem is familiar but no less inconvenient. The longer they perform intimacy for everybody else, the more difficult it becomes to determine which parts of the relationship are still pretend.
You, Me, Us – Netflix, October 29
Three people discover that crossing romantic boundaries is much easier than deciding where to redraw them afterward in this Italian drama.
The film centres on a love triangle in which infidelity does not function merely as a dramatic revelation but as the beginning of a larger emotional reckoning.
Once the lines between the three have been crossed, relationships that previously seemed clearly defined become difficult to restore. Loyalties shift, resentment competes with lingering affection and every attempt to establish new boundaries is complicated by what has already happened.
The drama focuses on the psychological aftermath of betrayal, examining whether three intertwined lives can ever return to their previous shapes once trust has fundamentally changed.
Minimum Wage – Netflix, October 26
A struggling pizza shop becomes the latest workplace to receive the mockumentary treatment in this fast-moving comedy starring Grace Reiter and Randall Park.
Adapted from the viral American High Shorts sketches, the series follows teenage employees trying to survive the ordinary absurdities of low-wage work.
Their problems include difficult customers, a failing valet operation and the everyday chaos of keeping the business functional with limited resources. Then their largely absent boss suddenly reappears with a new priority: the shop must become profitable.
With episodes running roughly 12 minutes, Minimum Wage keeps its comedy compact, using the restaurant’s dysfunctional workforce and management problems to turn the indignities of entry-level employment into rapid-fire workplace humour.
