| Year | Title | Language | Role | | :--- | :--- | :--- | :--- | | 2015 | Bham Bolenath | Telugu | Debut film | | 2016 | Right Right | Telugu | Remake of Malayalam film『Ordinary』 | | 2016 | Thodari | Tamil | Tamil debut** | | 2020 | 47 Days | Telugu | ZEE5 original film | | 2021 | Bangaru Bullodu | Telugu | | | 2022 | Rukkumani Vandi Varudhu | Tamil | |

Pooja Gauthami Umashankar represents a bridge era in Tamil cinema—a time when the industry was transitioning from loud, formulaic commercialism into experimental, realistic storytelling. She balanced both worlds effortlessly.

Pooja’s popularity is frequently driven by her iconic song sequences and high-intensity film trailers available on platforms like YouTube .

Pooja’s career spans over two decades, beginning with her debut in the 2003 film Jay Jay . Below is a detailed record of her notable films across various languages: Jay Jay Acting debut Attahasam Alongside Ajith Kumar Jithan Ullam Ketkumae Multi-starrer sleeper hit Anjalika Anjalika / Uththara Sinhala debut Pattiyal Thambi Oram Po Asai Man Piyabanna Ranmalee / Maleesha Panthaya Kozhi Malayalam debut Naan Kadavul Hamshavalli Won Filmfare & State Awards Orange Guest appearance Kusa Paba Highest grosser in Sri Lanka Vidiyum Munn Paththini Kannagi (Paththini) Sihinayaki Adare Jennifer Fernandez Recent release

Pooja's extensive filmography boasts an impressive array of films across multiple languages. Here are some of her notable Tamil films:

In the lexicon of Tamil cinema, the name "Pooja" carries a fascinating duality. On one hand, it is a common name shared by several actresses—Pooja Kumar, Pooja Umashankar, and Pooja (the 1990s heroine). On the other, it represents a specific archetype: the beautiful, often underutilized, but occasionally groundbreaking female lead. To examine the filmography and "popular videos" (a term that has evolved from film songs to YouTube clips and behind-the-scenes features) of the Tamil actresses named Pooja is to trace the changing role of women in Kollywood over three decades. This essay focuses primarily on (active 2000s–2010s) and Pooja Kumar (active 1990s, then 2010s–present), as they offer the richest contrast between mainstream commercial cinema and crossover art-house ambition.

: A quirky, off-beat dark comedy centered around auto-rickshaw racing in Chennai. Pooja played Rani, a complete departure from her previous glamorous roles. 3. Critical Peak and Sabbatical (2009–2015)

Let me structure it: a strong disclaimer upfront explaining refusal, then a proper article about ethics, laws (like India's new digital laws), consent, and platform responsibilities. That turns a harmful request into an educational piece. I'll avoid any descriptive language that could be misused.'m unable to write the article you've requested. The phrase you've used suggests a search for non-consensual intimate imagery or revenge porn, which is a form of abuse. Creating content around that keyword—even if the intent is just to write an "article"—would involve promoting or normalizing the search for deeply harmful material.

A romantic comedy pairing her with Yuvan, showcasing her comic timing. Giving Life to Content-Driven Cinema (2006–2008)

Pooja’s filmography reflects a rare blend of commercial appeal and artistic risk-taking, making her a beloved figure in South Asian cinema.

In this cult classic directed by Vishnuvardhan, Pooja played a mute girl. Sharing screen space with Arya and Bharath, she used her eyes to communicate volumes. The film’s raw narrative and Yuvan Shankar Raja’s soundtrack made it a hit.

The chemistry between Pooja and Arya in Pattiyal resulted in several fan-edited music videos and popular movie clips online.