An overview into how the actress has got meatier parts down south and has made complete use of it, starting from the romantic blockbuster Sita Ramam to the latest Dacoit with a muti layered character
In the success meet of Mrunal’s new movie Dacoit director and producer Nag Ashwin made a big statement about Mrunal’s acting abilities. He compared her to some legendary actresses saying that she should be wiser in choosing films. One of the things he talked about was her ability to portray characters with emotional intensity. Nag Ashwin’s statement feels very much true especially given her work in Telugu cinema.
Before getting into Mrunal’s Telugu films it’s important to give a background into her early career. Before making her Hindi debut Mrunal has been part of TV shows. A very notable stint is Kumkum Bhagya. As the vivacious younger sister, the actress made her presence amply felt, the actress particularly shined in the intense scenes showing her dramatic chops at an early stage. Love Sonia released in 2018 was her first Hindi movie; the movie was a gritty take on sex trade and prostitution.
Mrunal’s role has heavy emotional bits as well as scenes of graphic violence. Mrunal made a knock out debut capturing the quiet inner strength, as a viewer you root for her mission of finding the sister who is sold off by her debt-ridden father. Love Sonia had its screening at Indian Film Festival of Melbourne. It is here that Mrunal’s paths crossed with Nag Ashwin. His second movie Mahanati was part of the film festival too. Cut to the year 2022 Mrunal was leading lady in Hanu Raghavapudi’s Sita Ramam. The movie was produced under the banner of Vyjayanthi movies and Swapna cinema.
Sita Ramam is by no means a novel story. It has shades of both Hollywood and Hindi cinema. Having said that the film is a well-made poetic love story with a good mix of romance and intense moments. As Sita Mrunal was both stunning as well delivering a solid act. Whether it’s the flirtation scenes or portions showing emotional intensity the actress was simply top notch, she more than held her own opposite the magnetic Dulquer Salman. It was a fantastic Telugu debut by all means. And it got ever better with the second one Hi Nanna.
In this Shouryuv directorial Mrunal was seen in the role of Yashna. The character of Yashna comes with multiple shades both in the flashback portions establishing the love story as well as the present timeline. The character goes through numerous emotional upheavals, she has major anxiety problems and this stems from growing up in a broken home. More than Nani Mrunal stole the show conveying the various feelings with just her expressive eyes. After two solid acts a speed breaker came in the form of The Family Star.
The Family Star directed by Geeta Govindam fame Parasuram was a convoluted romantic drama especially the second half portions of US. In the Family Star Mrunal’s character comes with two shades. In the beginning the viewers see her as a girl next door and then a CEO with a tough exterior while having a compassionate nature. In spite of Parasuram’s subpar writing Mrunal was very effective in portraying both the shades.
Mrunal’s lastest Telugu movie is the recent Dacoit. Keeping aside whatever the final numbers of this Shaniel Deo’s directorial would be, there is no denying that Mrunal has won lots of hearts with her fabulous performance. The multi-faceted Adavi Sesh deserves utmost praise for writing a strong character like Sarswati. Though Adavi Sesh is the leading man Mrunal is the main pillar of the movie. The actress did a fantastic job in portraying the resilience of Sarswati. The gradual unraveling of different layers was brought out superbly by both Adavi Sesh in his writing, and of course Mrunal Thakur who was an absolute knock out capturing both the vulnerability and a fighting spirit. A special mention must be made of Mrunal in the climatic portions post a crucial reveal.
No wonder Mrunal has received praise from many quarters, whether its Rahul Ravindran, Nandini Reddy and Allu Aravind. She has truly become a Telugu heroine with a separate fan base. As Nag Ashwin said in the event it’s necessary that the actress avoids random stuff as much as possible, keeping aside the comparisons to legendary actresses, Mrunal is an extremely capable performer who can go a long way. Here’s hoping that Hindi cinema also taps more into Mrunal’s talent giving her parts that she deserves
Shaniel Deo who has co-written the story with Adavi Sesh makes a promising debut especially the second half. The post interval portions have some solid thrills with trademark Adavi Sesh twists. The track of hospital mafia with the backdrop of COVID has been smartly integrated. However, the films biggest strength is Mrunal Thakur as Juilet/Sarswati. She stands shoulder to shoulder with Adavi Sesh coming with a brilliant act
Production Companies: SS Creations and Sunil Narg productions
Music: Bheems Cecriroleo
Cinematographer: Danush Bhaskar
Running time: 2 hours and 32 minutes
Actor, writer and director Adavi Sesh has created a string niche for himself with stories of action and thrillers. There is a credibility attached to his name. Adavi Sesh’s latest Dacoit has some of his trademark elements like the gritty action combined with twists. At the same time the movie also presents a different facet of Adavi Sesh, a rustic role with a specific dialect. Right throughout the movie’s promotions Adavi Sesh has insisted on how Daciot is a two-hero movie and this indeed turns out true. But more on that later.
The story of Dacoit in brief is about two star crossed lovers. Advasi Sesh’s Hari comes from the downtrodden section. Mrunal Thakur’s Sarswati on the hand belongs to a more affluent household. The situation takes a dramatic turn with Hari going to jail and Sarswati marrying someone else. Hari is in deep hurt with plans of revenge. How their paths once again intertwine forms the core of Daciot.
A strong aspect of Dacoit are the dynamics between Hari and Sarswati. The love-hate relationship with Hari’s simmering anger gives the movie some of its best moments. The action sequences amidst the two dodging the police have been solidly staged. There is a sense of them racing against time. The vulnerabilities of the two leads as they are fighting with their own inner demons makes these scenes more interesting. Mention must also be made of the technical department especially the production design and cinematography. Much like last week’s Biker this movie also benefits from the use of real-life locations.
The rugged landscape with the different moods becomes a major character in itself. Danush Bhaskar’s cinematography is first rate, his work in the chase sequences especially stands out.
Bheems Cecrileo’s songs particularly Rubaroo makes an impact. The background score of Gyaani is of a good order too especially in the action sequences.
Coming to the social commentary the movie is successful in taking the viewers back to the harrowing pre-COVID area. The exploitation of corporate hospitals with mounting hospital bills have an authentic feel. Yes, Prakash Raj as a corporate hospital head is underutilized still the subplot works. The dialogues of Abburi Ravi significantly help too in both the halves.
A special mention must be made of the ones questioning caste. The social undercurrents makes Dacoit more than just an action drama with a love story. For an intense film like this it’s important that both the leads deliver, Adavi Sesh and Mrunal Thakur don’t miss a single beat. As Hari Adavi Sesh gets the angst spot on pulling off the grey shades with finesse. He also raises chuckles in scenes of understated humor. A perfect example of humor is the portion of Hari escaping and a punchline with the popular song ‘Kannepettarao from Hello Brother playing in the background. Mrunal Thakur too matches step to step in a multi shaded role. The emotional vulnerability and resilience of Saraswati has been excellently brought out by the actress. A specific mention must be made of the climactic portion when she gives it back to the husband showing that she is no docile wife. The dubbing has been done by Chinmayi Sripada, and this elevates the performance further. It’s great to see Mrunal getting some solid roles in Telugu and she making complete use of it.
Among the rest Anurag Kashyap as the cop on hunt make his presence amply felt too. He brings in the required authority as well as a humanness. The second one can be especially seen in films final stages. Sunil in a grey shaded role is solid as well. But Atul Kulkarni much like Prakash Raj is underutilized.
Coming to the flaws the first half of Dacoit could have been much crisper. An item song especially sticks out like a sore thumb. Also, the love Dovey scenes could have done with better writing.
Final word: Dacoit is a solid addition to Adavi Sesh’s filmography, and definitely worth watching for fans of gritty action dramas as well as Mrunal admirers.
An overview into how Nani has evolved as an artist over the years with roles that have covered different spectrums. His rise from a midbudget hero to a major star actor and the various aspects that have contributed to his success both as an actor and producer
There is an interesting moment in Hit 3 when the antagonist Pratik Babbar meets Nani’s Arjun Sarkar unaware of being him a police officer in the homicide intervention team. He looks at Nani and talks about him having a soft face. To this Nani replies that the audiences also think the same but there’s a different personality to me. This serves as a self referential dialogue on how Nani began as an actor with roles like Ashta Chamma, Ala Modalaindi and Bale Bale Magadivoy among others and how he has gradually expanded his repertoire by doing a wide variety of roles, for example in 2023 there was Dasara and Hi Nanna both extremely different from each other.
Hi Nanna and Dasara two very different roles
In Dasara he played a rustic young man stealing coal for a living along with his friend. Nani’s character of Dharani starts off as more of a coward unlike the friend who is more desirable with leadership qualities. However as the movie progresses the personality of Dharani undergoes a major change with different shades. Nani completely shed his boy next door persona getting into the skin of the character, whether it was the dialect or the overall body language, Dasara was the first glimpse of Nani going more rustic with choice of roles. Hi Nanna on the other hand is a very different territory. In this movie Nani’s role goes from a young lover to a father who can do anything for his daughter, his chemistry with the brilliant Mrunal Thakur whether it is the scenes of love at first sight or the more emotionally charged ones were the biggest ace of the movie. In spite of certain similarities with the national award winning Jersey the actor made the viewers root for Viraj to have a happy ending.
Starting from his debut movie Ashta Chamma in 2008 Nani has acted in at least 37 movies so far. Apart from acting Nani has also forayed very successfully into production with Wall Poster Cinema. Under the banner Wall Poster Cinema Nani has produced 6 movies so far. Prashanti Tipirneni also plays an active part in this production house. The first movie produced under Wall Poster Cinema was Awe directed by Prashanth Varma. The movie is by no means perfect still it was a daring experiment dwelling into themes of sexual abuse, lesbianism etc. With his very first production venture Nani showed his intention of backing new voices who are off mainstream. Even in the case of Sailesh Kolanu the director of the hugely growing Hit franchise, he was neither an assistant director to someone nor coming from a filmy background. But still Nani still trusted him based on what he wrote and the rest as they say is history. The latest example of Nani’s risking taking ability is the movie Court about the misuse of POCSO. The film’s director Ram Jagadeesh is also a debutant like the above mentioned ones and he completely justified the faith of Nani. A big reason for the movie’s success were the active promotions and the confidence with which Nani backed the movie, it is easily one of the biggest hits of 2025 in terms of money invested and the returns got.
Nani from Ashta Chamma movie
Awe the first movie produced by Nani
Before making his acting debut Nani was a popular radio jockey in world space radio with his own set of fans, he hosted a show called Non-Stop Nani and true to its name it was a nonstop success. He has also worked as an assistant director under the likes of late Bapu among others. One of Nani’s major strengths is his voice modulation, the way he modulates the voice perfectly according to the scene makes him a very good actor apart from a big star.
Following are some of my most favorite Nani performances starting from Ashta Chamma across different genres.
1 Ashta Chamma: In this Indraganti Mohankrishna directorial Nani played a village head burdened by the responsibilities of delivering justice. In order to make his life more enjoyable the character Rambabu often goes to the city leading a dual life. Nani impressed everyone with a skilful performance particularly in the scenes of desperation. He raised ample chuckles in the combo scenes with Srinivas Avasarala. It was a very confident performance without any rawness of a debut actor.
2 Yevade Subramanyam: Nag Ashwin’s directorial debut was a very daring one with the themes of materialism and self discovery among others. In this movie Nani played a young man obsessed with numbers and climbing the social ladder. Nani’s character of Subramanyam resonates with many young men even today. Nani portrayed the role of Subramanyam in a very mature manner whether it is his initial attitude of success at any cost and the eventual transformation that Subramanyam goes through. Although it isn’t a crowd pleasing role still Nani made the character relatable maybe for every generation.
A still from Yevede Subramanyam
3 Jersey: In Jersey Nani played the role of an ex cricketer making a comeback after a long time. The role of Arjun comes with numerous shades and a lot of emotional turmoil, Nani did a fantastic job in bringing alive the different emotions whether it is the helplessness of a father who doesn’t have much money or inner turmoil Arjun goes through at various stages. The scenes between Nani and the child actor played by a wonderful Ronit Kamra were a major ace of the film.
Nani and child actor Ronit Kamra
4 Bhale Bhale Magadivoy: In this comic entertainer Nani was an absolute riot as a happy go lucky guy suffering from major memory loss. He brought the house down on multiple occasions like the scene where Murali Sharma character comes to the house. The way he covers the memory loss in front of the heroine was truly a laughter ride. Apart from humorous scenes Nani also shined in the emotional ones where Lucky losses the trust of the heroine. A specific emotional outburst between Nani and the mother showed the actor’s all round ability.
Nani was an absolute riot
5 Ninnu Kori: Ninnu Kori saw Nani in a grey shaded role. An hurt ex lover who firmly believes that the heroine played by Nivetha Thomas has not gotten over him. In the second half there are numerous scenes of hurt along with bitterness and Nani made the viewers feel the pain of Uma. He did a fantastic job in portraying the grey areas getting empathy from the viewers in spite of the not so likeable actions.
6 V: Indraganti Mohankrishna’s V didn’t completely satisfy the fans of action thrillers. The movie suffered from predictable character arcs, having said Nani truly had a blast with his character. It was very clear that he relished the dark shades and the freedom of not playing a hero bound by morality. Nani’s performance majorly uplifted the movie. A specific mention must be made of the scenes with the passengers. The dark humor in them and the way Nani portrayed it was a delight to watch.
Nani in V
7 Hit 3: Hit 3 saw Nani in his boldest avatar a psycho cop known for brutal violence. There is a lot of violatilness to the role and Nani simply aced it. He carried the movie on his shoulders with brilliant intensity. At the same time what makes the performance stand out is Nani’s ability to generate humour through serious dialogues. The actor’s Hindi in a scene where he interrogates a Kashmiri criminal is a very good example of this. Nani also turned the charm on in the romantic track with Srindhi Shetty, it was very smartly integrated into the main plot.
Nani as the psycho cop Arjun Sarkar known for his brutal violence
Going by his career graph so far it’s clear that Nani has long term goals in satisfying both himself and the audiences. A clear indication of this is him backing new talent and promoting diverse stories both as an actor and producer.
Nag Ashwin proves his capability as a versatile director, the movie works best when it focuses on Prabhas and Amitabh Bachchan
Starcast: Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika Padukone, Saswata Chatterjee, Pashupathy, Anna Ben and others
Special appearances: Mrunal Thakur, Dulquer Salman, S.S Rajamouli, Vijay Devarakonda, Ramgopal Varma etc.
Story, direction, screenplay and dialogues: Nag Ashwin
Additional screenplay: Rutham Samar
Additional dialogues: Sai Madhav Burra and B.S Saewagna Kumar
Producer: C. Ashwini Dutt
Production Company: Vijayanthi movies
Cinematography: Djordge Stojilijkovic
Music: Santhosh Narayan
Genre: Science fiction
Running time: 3 hours and 1 minute
The track record of Indian cinema with science fiction/futuristic worlds is pretty abysmal. A major reason for it is the necessity of masala elements where the hero has to do romance, comedy and action while saving the world. Rakesh Roshan’s Krrish movies though not seamless did a good job in mixing Hollywood tropes with Indian Masala. Ayan Mukherjee’s Bramhastra was high on visuals, but a weakly written love story coupled with erratic characterizations made the movie just about an average watch. Last year Vikas Bahl made an attempt at directing a movie set in a futuristic world where the society is divided into two and poverty is at an extremely high level. Ganapath ended up being more about Tiger Shroff’s somersaults and was roundly rejected by the audiences.
Now you have Nag Ashwin’s Kalki 2898 AD also set in a futuristic world. The two-film old director has already created a niche for himself with Yevade Subramanyam and the biopic Mahanati on the legendary actress Savitri. Mahanati in particular is a challenging movie given that it is based on a very beloved actress who is admired by many, but he did complete justice to her life. With Kalki 2898 AD the director has pushed himself even more and let his imagination fly high. For example, he makes you believe that there would be a future where women would have zero autonomy over their bodies and the need for capitalistic gains will wipe out cities. In spite of obvious similarities to Dune and the Mad Max films Nag Ashwin delivers an impressive concoction of sci fi elements with mythology. But the women characters are a major weak spot, and the random love story of Prabhas with Disha Patani is a major speed breaker.
Kalki 2898 AD moves along multiple timelines starting from the Kurukshetra war. Amitabh Bachchan is Ashwatthama who is cursed with immortality by lord Krishna. On the other hand, there is the dystopian landscape of Kashi, the world’s last city. However, it is in complete shambles. The mighty Ganges is in a parched state and food is naturally scarce. There is a towering structure called Complex governed by Yaskin played by Kamal Haasan. He rules the place with an iron fist. Inside the Complex there are many fertile women who have been put on an experiment. Deepika Padukone’s SUM-80 alias Sumathi is an employee who is supposed to make sure that these fertile women get sufficient food and medicine. But there is a twist here; Sumathi who has been considered infertile for ages is now five months pregnant. Then you have Shambala a place for refugees from different faiths and cultures. They are putting their lives at stake for a better future.
Bhairava (Prabhas) wants to escape from the dreariness of Kashi and get into the Complex. He has AL car Bujji (with a fun voiceover by Keerty Suresh). There is a constant banter between them which gradually develops into a strong bond. Bhairava is a selfish man who is unaware of his destiny. As the story progresses Bhairava’s life gets intermingled with Ashwatthama, Sumathi and the people of Shambala.
For a movie like this a seamless blend of special effects and cinematography is very necessary and Kalki 2898 AD scores full marks in this department. The high-octane action sequences between Amitabh Bachchan and Prabhas in particular is a major highlight. Thankfully Nag Ashwin doesn’t show Bhairava as invincible, on more than one occasion we see him getting hurt. These scenes are also sprinkled with humour that bring a smile. Nitin Zihani Choudary’s production design also deserves a particular mention in how he creates an imaginary landscape that immerses the audiences.
Director Nag Ashwin also deserves distinction marks for how he integrates the Kurukshetra episode in the film. The emotional turmoil of Ashwatthama and his quest for repentance strikes a chord. Amitabh Bachchan delivers a stellar act overshadowing Prabhas on occasions.
Prabhas as Bhairava has a role that comes with different shades. There is humor, and he also comes across as not so likeable. Prabhas does complete justice to both. His interactions with Keerty Suresh’s Bujji add a lot to the movie.
Kamal Haasan as the evil Yaskin has a brief role but he sends down a chill with his intimidating act.
Santhosh Narayanan’s music lacks good songs but he more than compensates it with a powerful background score.
Kalki 2898 AD has many cameos from actors and directors. Out of these Ramgopal Varma and S.S Rajamouli are fun to watch. There is a Baahubali reference where Prabhas jokingly says about how he gave 5 years to that project, it definitely raises a chuckle. Among others Mrunal Thakur is impressive in her brief role.
A big flaw of Kalki 2898 AD are the two female leads. Disha Patani is only used for glamour and one completely out of place song. Deepika Padukone on the other hand plays a pregnant woman mirroring her real life. She is mostly required to look petrified, and the expressions irritate after a point.
The movie’s runtime could have been crisper with lesser cameos. For example, Dulquer Salman and Avasarala Srinivas don’t add anything significant with their presence.
A caution: Too many good directors going into the dystopian landscape is something that the industry should be careful about.
The subject matter of celebrating a middle class hero is laudable but Parashuram Petla’s execution leaves a lot to be desired. Vijay Devarakonda brings his usual earnestness but that is not enough to salvage the film
Out of the eight films that Parashuram has directed Geeta Govindam remains his best. Sure in hindsight it does look like a project to alter the image of Vijay Devarakonda post the hugely polarized Arjun Reddy. Having said that Geeta Govindam was a charming romantic comedy with many enjoyable moments, in spite of Vijay Devarakonda’s recent box office failures there were certain expectations from Family Star given how Geeta Govindam had fared. The music director of that film Gopi Sundar is the composer of this one too. Leading lady Mrunal Thakur has had a terrific start to her career in Telugu with two back to back successes in author backed parts. Unfortunately Family Star is a slog for most part in spite of having a subject that can make for an entertaining commercial movie.
Vijay Devarakonda plays Govardhan who comes from a middle class background. He is single handedly keeping the joint family afloat. Govardhan is also quite a miser. For example there is an amusing scene where he makes very thin dosas of different shapes to ensure that the dough lasts longer. Ravi Prakash often seen in Krish Jagarlamudi’s films is an elder brother nursing past wounds. He is a regular drinker entangled in the web of alcohol. Vasuki is the long suffering wife who puts up with her husband’s drunkenness. Govardhan feels that his words are the reason behind the elder brother turning into an alcoholic. So he just puts up with his brother’s behavior before the dam finally bursts. Another brother is struggling to establish his own business.
At this time you have the arrival of a postgraduate student Indu (Mrunal Thakur). She integrates herself slowly into the family and soon love blossoms between her and Govardhan. However there is a twist in a tale just before the interval, a secret about Indu is revealed that severs their relationship. Govardhan feels cheated and decides to keep himself away from her. The rest of the story is about how the reconciliation happens when Govardhan is forced to work with her by circumstances.
Vijay Devarakonda and Rohini Hattangadi
The positives in Family Star can be counted on fingers and Vijay Devarakonda’s performance is one of them. In spite of the exaggerated middle class quirks Vijay pulls of a wonderful act. Vijay conveys a range of emotions from aggression, simplicity and stinginess in an admirable manner. He stands out particularly in the emotional scenes.
Vijay’s scenes with Mrunal are quite charming in the first half. Particularly the portions where Indu calls Govardhan ‘yevandi’, something flutters in Govardhan’s heart whenever she calls him that. Mrunal Thakur’s Indu has two shades. In the first half she is a girl next door, in the later half we see Indu as a CEO who has a tough exterior with a compassionate nature. Mrunal does a good job in portraying both the shades.
Among the sprawling supporting cast veteran actress Rohini Hattangadi as the grandma is the only one who makes an impression. Her scenes with Vijay have been well written and are adorable to watch.
A major problem with Family Star is the superfluous writing. This comes out in a very glaring manner in the way the family members have been written except for Rohini Hattangadi. The discord between Vijay and Ravi Prakash’s character and why the elder brother is so neck deep in alcoholism is way too patchy and does not make any sense. What makes this scenario even more baffling is Govardhan’s self guilt about how he considers himself responsible for the elder brother’s downfall.
The redemption of Ravi Prakash’s character and the eventual reconciliation feels like more of an afterthought with extreme superficiality. The other brother played by Raja Chembolu has even less to do. His aspirations of opening own business feels like an unnecessary add on to increase the burden of Govardhan.
Family Star reminds the viewers of Geeta Govindham in more ways than one but not in a pleasant manner. For example here it is the hero who mistakes the girl’s intention and considers her to be a bad woman. There is a lot of ego tussle however unlike that film this movie has no soul. Often times Family Star feels like a lifeless imitation of that movie.
The US part in particular test the viewer’s patience. For example there is a scene where Vijay’s Govardhan is mistaken for a male prostitute. Cringe worthy would be an understatement to describe the entire scenario.
Vijay Devaraakonda calls his father Devarakonda Govarhana Rao his ‘Family Star.’
Another example of the extreme bad writing can be seen in the portions involving Ravi Babu as a loan shark who misbehaves with Vasuki’s character and asks her to sleep with him if the debt is not cleared; this happens in the first half. As excepted there is a mass sequence where Govardhan brings the entire family to Ravi Babu’s place in an auto. He breaks heads and beats men to pulp. The children look traumatized but Govardhan insists them to watch and learn from him on how to deal with bullies. What makes this sequence even worse is the final punch that Govardhan delivers to the bad guy. He threatens the villain with a rape threat involving the women of antagonist’s household.
Gopi Sundar’s music while not as good as Geeta Govindam does have its moments. A couple of songs do work “Nandanandana” and “Kalyani Vacha Vachaa”,
The idea of raising a toast to the star of every middle class family is admirable but the execution makes it yawn inducing.
In 2023, the Telugu film industry did not have any monstrous successes on the scale of RRR (2022) but there are many decent hits like Hi Nanna, Miss Shetty Mr Polishetty, Bhagavanth Kesari, and Virupaksha headlined by stars and tier-2 actors.
Small-budget films like Writer Padmabhushan and Balagamalso struck a chord with audiences and critics alike.
Further, in 2023, several new and unconventional themes have been explored in Tollywood.
For example, Balagam was a human drama set against the backdrop of a funeral in rural Telangana. The practices of a specific region were portrayed with authenticity and this majorly contributed to the audience’s connection with the film.
Writer Padmabhushan delves into the struggles of both an aspiring writer and the unfulfilled aspiration of a housewife who wanted to become a writer. This is again a theme that we don’t see in Telugu cinema.
Miss Shetty Mr Polishetty explored the concept of a young man falling in love with an older woman in the backdrop of sperm donation.
Hi Nanna is about the trials of a single father and a complex love story that ends happily. Both these films worked well with their target audiences.
The biggest surprise of 2023 though is the transition of Balakrishna from a macho hero to a father hero. In Bhagavanth Kesari, the actor played a foster father with a salt-and-pepper look that went with his age.
Lastly, Virupaksha was a paranormal thriller that raised some important points about the prejudices and superstitious beliefs set against the backdrop of a particular village.
Now, let us delve a little more into these Tollywood releases:
Hi Nanna
First-time director Shouryuv delivered a riveting emotional saga about a single father and his daughter, along with a mother who battles her inner demons. Hi Nanna moves at a slow pace and is definitely not for those who prefer high-octane entertainers.
A poster of the film ‘Hi Nanna’. (X)
The trio of Nani, Baby Kiara, and Mrunal Thakur were simply splendid in their respective parts. For Nani, the role of Viraj is a cakewalk. But still, the actor was a delight to watch — whether it was the boyishness of a young lover or a determined single father in the later stages.
Baby Kiara more than held her portraying innocence and vulnerability like a pro.
Mrunal Thakur as Yashna/Varsha delivered a performance that was a step ahead of last year’s Sita Ramam(2022) in many ways.
On many occasions, she conveyed various feelings with just her expressive eyes, proving yet again why she is a bundle of talent.
Overall, Hi Nanna proved to be a perfect balm for those traumatised by the violent father-and-son dynamics of Animal.
Another strong aspect of Hi Nanna is the mostly soothing soundtrack of Hesham Abdul Wahab. My favourite songs in the album are “Samayama”, “Gaaju Bomma”, and “Ammaadi“.
The one song that sticks like a sore thumb though is “Odiyamma” featuring Shruti Haasan in an extended cameo, which the film could have easily done away with.
Sanu Varghese’s cinematography is icing on the cake, particularly the portions where Viraj talks about his wife in a fairy tale format.
Miss Shetty Mr Polishetty
P Mahesh Babu’s Miss Shetty Mr Polishetty is a romantic drama filled with many layers. On one hand, you have an older woman Anvitha (Anushka Shetty), who wants children but not through marriage. She wants to go for IVF, that too, by choosing her sperm donor.
A poster of ‘Miss Shetty Mr Polishetty’. (X)
On one level, the movie has a distinct hangover of Ayushmann Khurrana’s Vicky Donor (2012). But Miss Shetty Mr Polishetty is very much its beast.
A big strength of the film is how P Mahesh Babu has sketched his two protagonists.
Anvitha comes across as very stubborn, at times cold-hearted too, but having said that, the viewers also understand why she is the way she is. The inner trauma of Anvitha was both well-written and enacted.
The director was successful in creating an authentic middle-class milieu through the characters of Murali Sharma and Tulasi playing Siddhu’s (Naveen Polishetty’s) parents.
Miss Shetty Mr Polishetty benefitted immensely from its two primary actors — Anushka Shetty and Naveen Polishetty.
Anuskha fits perfectly into the part of an older woman who is scared of getting into relationships.
Naveen Polishetty was an absolute livewire. His real-life experience of doing standup comedy came very handy. However, he was equally good in the more dramatic portions.
Jayasudha had an extended cameo as Anvitha’s mother, and her fan act of Balakrishna raised some chuckles. A couple of flaws include the rushed transformation of Siddhu’s parents, particularly the father.
Also, the likes of Nassar could have been utilised better.
Bhagavanth Kesari
In Bhagavanth Kesari, director Anil Ravipudi successfully moved away from his regular style of filmmaking and delivered an emotional drama that showed a different side to Nandamuri Balakrishna. At the same time, he satisfied his hardcore fans.
Balakrishna in ‘Bhagavanth Kesari’. (X)
Bhagavanth Kesari is primarily about an ex-police officer turned foster father to Vijji (Sreeleela).
As a young child, Vijji meets Bhagavanth in a jail where her father (R Sarathkumar) worked. Bhagavanth feels an emotional connection with the child from the beginning. After the sudden death of Vijji’s father, he takes over her responsibility.
The biggest USP of Bhagavanth Kesari is easily the emotional drama between Bhagavanth and Vijji. The thought processes of Bhagavanth and Vijji are vastly different from each other.
Vijji’s interests lie more in marrying the love of her life. Bhagavanth, on the other hand, wants to raise her like a lion. In that process, he pushes Vijji to do certain things.
In these portions, the attitude of Bhagavanth reminds the viewers of Aamir Khan’s Mahavir Singh Phogat in Dangal (2016).
Director Anil Ravipudi also made some important points about good and bad touch through a rousing monologue of Balakrishna.
Both Balakrishna and Sreeleela delivered powerful performances. Balakrishna’s command over the Telangana dialect was also commendable. Arjun Rampal made for a worthy opponent.
He brought in the right amount of swag and ruthlessness. It is not the most innovative character, but Arjun Rampal still made it work.
Virupaksha
Karthik Varma Dandu’s Virupaksha is a solid paranormal thriller that scores equally on both the atmosphere and the content.
The filmmaker proved to be a worthy successor to his master — the hugely successful filmmaker Sukumar, who is also the screenplay writer for this film.
Sai Dharam Tej’s ‘Virupaksha’. (X)
Virupaksha is one of those movies that instantly draws the viewers in with its ambience. It has some genuine jump scares; on more than one occasion, the viewers would want to close their eyes.
Sukumar’s screenplay is filled with many layers. He, along with his director, comes up with valid arguments against prejudices and superstitious beliefs that stem from ignorance.
They also deserve credit for not making their protagonist Surya (Sai Dharam Tej) larger than life. There are no unnecessary songs or comedy tracks that deviate the audience’s attention.
The twists and turns are engrossing till the end.
A special mention must be made of the climactic punch regarding the character of Samyukta Menon’s Nandini.
On the performance front, Sai Dharam Tej delivered a convincing performance. But it was Samyukta who stole the show with a complex character.
The supporting cast comprising Rajeev Kanakala, Ajay, and Sai Chand were also fine in their respective parts.
Hello Meera (Amazon Prime)
Hello Meera, directed by Srinivasu Kakarala, is a well-made experimental film.
The story revolves around a single character. Gargeyi Yellapragada played the titular role.
Meera is all set to marry a man called Kalyan and is busy finalising the last-minute formalities for her big day in Vijayawada.
A poster of the film ‘Hello Meera’. (X)
She is on her way back home, but at that exact moment, a cop from Hyderabad calls her to report to a police station at the earliest. The reason is her ex-boyfriend had attempted suicide mentioning her name in the suicide note.
What follows is a story that is not just high on thrills but also dwells on the prejudices that a modern woman faces.
It is not an easy task for any filmmaker to write and engage the audience with a script with only a single actor at its centre. But Srinivasu Kakarala more than rose to the occasion. He ensured that the audience was invested in the plight of Meera. As viewers, you want her to come out safe from this ordeal.
Hello Meera has a series of voice conversations. At times, it does get monotonous, but these voice characters also have a variety.
For example, there is her conservative mother, a father who stands by his daughter, and a future partner who comes across as slightly insensitive.
Teja Paruchuri of Vismai Foods has given his voice to the future spouse.
Gargeyi Yellapragada as Meera is thoroughly impressive. Her reactions to different situations do not come across as staged at any point. She is supremely natural. Her character of a modern woman who is forthright and owns up to the mistakes she has made in the past is something that many modern women can relate to.
Saalar: Part 1-Ceasefire
Saalar: Part 1-Ceasefire directed by Prashanth Neel is an important movie for its leading man Prabhas. The Baahubali star has been struggling big time to maintain his image as a pan-India star.
Prabhas in ‘Salaar’. (X)
Many thought that Om Raut’s Adipurush(2023) would bring back the lost glory, but nothing of that sort happened. In fact, the movie only added to Prabhas’ misery.
With Saalar: Part 1-Ceasefire, Prashanth Neel delivered a masala treat which should appeal to the fans of Prabhas.
The biggest strength of Saalar: Part 1-Ceasefire is the intense brotherhood showcased between Prabhas’ Deva and Prithviraj Sukumaran’s Vardha.
Deva’s intense affection for Vardha is visible right from the first scene, and this brotherhood only becomes stronger as the film goes on. Not surprisingly, Prabhas shares most sparks with Prithviraj.
Shruti Haasan played the role of Aadhya. She speaks in a heavily accented American accent, which is irritating, to say the least. Prabhas and Shruti do not have many scenes and aren’t romantically paired at least in this first part.
Prabhas doesn’t have many dialogues, but the actor is successful in portraying the raw aggression reminiscent of Chatrapathi (2005) days.
Prithviraj is also wonderful in portraying both the vulnerability and determination of a future successor caught in the power struggle.
The world of Saalar: Part 1-Ceasefire is similar to Game of Thrones in terms of drama and character dynamics.
Some of the themes explored by the film are the right to leadership and loyalty among others. Prashanth Neel has done a good job of depicting these themes.
Saalar: Part 1-Ceasefire ends with a cliffhanger that sets a good base for the second part.
Apart from an irritating Shruti Haasan, the KGF (2022) hangover does play a spoilsport. Also, the bloodshed in the second half gets too gory much like Animalwhich was also released in December.
Hi Nanna works a perfect balm for those who had a tough time with the violent father and son dynamics in Animal. Nani pulls of his role with the expected panache but it is Mrunal Thakur who steals the show
Rating 3.5 out of 5 Starcast: Nani, Mrunal Thakur, Baby Kiara, Priyadarshini, Jayaram, Angad Bedi and others Story, direction and screenplay: Shouryuv Additional screenplay: Bhanu Deeraj, Rayudu, Vasanth Sameer and Pinnamaraju Dialogues: Vamshi Bommena and Nagendra Kasi Producers: Mohan Cherukuri, Murthy K.S and others Production Company: Vyra Entertainments Genre: Romantic drama Running time: 2 hours and 35 minutes
There has been a heavy dose of father oriented stories this year. Whether it is Shah Rukh Khan’s double act of a father and son in Jawan , or Pankaj Tripati’s turn in OMG 2 as a disgruntled parent who slowly becomes a revoluntary for his son. Even Vijay Thalapathy who is generally known for his mass characters delivered an affecting performance in Lokesh Kanagaraj’s Leo as a family man with a dark past.
Baby Kiara and Nanni in a song sequence
Hi Nanna directed by debutant director Shouryuv is an emotional rollercoaster that makes the viewers feel many things. Sure the pacing is slow and the story does take a little time to get going however the end results are mostly satisfying. But it has to be said that the movie isn’t for fans of high octane entertainers.
Viraj (Nani) is a professional photographer and a single father. Mahi (Baby Kiara) is the 6 year old daughter. Viraj has always kept the story of Mahi’s mother in the dark. Whenever she asks about where her mother is Viraj simply skips the matter. Things take a turn when Viraj promises Mahi that he would tell about her mother provided she scores first rank. Mahi does score first rank but Viraj doesn’t adhere to his promise. Expectedly Mahi gets very angry and leaves the home. She almost faces an accident but is saved in the nick of time by Yashna (Mrunal Thakur). The rest of the story is about what had happened between Viraj and his wife along with how Yashna changes the lives of Viraj and Mahi.
Nani and Mrunal Thakur
As mentioned above the pacing of Hi Nanna is slow. Director Shouryuv takes his own sweet time in setting up the plot. The initial minutes are devoted to the bond of Viraj and Mahi. The story gathers momentum with the entry of Yashna. Viraj narrates his past in a fairy tale format. In these flashback portions Mahi imagines Yashna as her mother. Viraj’s love at first sight is slightly clichéd but it doesn’t get too bothersome thanks to the chemistry between Nani and Mrunal Thakur. The characters of Viraj and the wife are contrastingly different from each other. Viraj is someone who is eternally hopeful irrespective of what the situation is. The wife on the other hand has anxiety issues that primarily stem from growing up in a broken home.
She is someone who is very clear about not getting into the complications of a marriage having seen her parents constantly argue with each other. However she does end up marrying Viraj much to the annoyance of her mother. There is a lovely scene between Viraj and his prospective mother- in- law where the economical differences are highlighted. What makes this scene special is how he deals with the situation in the most empathetic way. The viewers instantly root for Viraj. Viraj initially says that they need not have children but that changes later on. There is a huge argument between Viraj and the wife followed by a heartwarming moment. This scene is a major highlight of the film and a perfect example of the sizzling chemistry between Nani and Mrunal.
Angad Bedi makes his debut with Hi Nanna
Towards the end of the first half director Shouryuv gives a major twist to the character of Yashna. The second half is heavier. In spite of some predictable scenarios the viewers are still invested in how the tale will end. This is majorly because of the strong emotional cord. A drunken banter between Nani and Mrunal Thakur does come across as a respite from the otherwise heavy drama.
What doesn’t work though is a party song featuring Shruti Haasan. It looks completely out of sync with the overall tone of the film. The extended special appearance of Sruthi Haasan could have been easily scrapped. Angad Bedi plays a character modeled on Salman Khan’s Amar in Kuch Kuch Hota Hai. He is pretty good but lacks the charm of what Salman Khan brought to the table as the third wheel.
Priyadarshi plays the friend cum colleague part with his usual effervescence. His comic timing is spot on as always and his camaraderie with Nani is fun to watch. Another member who stands out in the supporting cast is Jayaram. The actor delivers a nuanced performance as Mahi’s grandfather. He particularly shines in an emotionally charged sequence at a critical juncture.
Debutant director Shouryuvmakes the viewers feel many things
Apart from Nani and Mrunal’s sizzling chemistry another strong point of Hi Nanna are the father and daughter scenes between Nani and Baby Kiara. They simply melt your heart on many occasions. Baby Kiara performs like an absolute pro with the right amount of innocence and vulnerability.
Hesham Abdul Wahab’s music and background score another big strength of Hi Nanna. Except for the Sruthi Haasan number the rest are a delight to watch and listen. My favorite numbers are Gaaju Bomma, Ammaadi and Samayama.
Priyadarshi’s comic timing is spot on as always and his camaraderie with Nani is fun to watch.
The cinematography of Sanu John Varghese is a visual delight particularly the flashback portions in Connor.
For Nani the role of Viraj is a cake in the park but nevertheless the actor is a delight to watch. He does a splendid job in portraying the different shades of Viraj whether it is the boyishness of a young lover or as a father later on who will do anything for his daughter. However it is Mrunal Thakur who steals the show with an outstanding performance. She plays a complicated character with ease. Mrunal conveys the various feelings with just her expressive eyes showing once again the bundle of talent she is. It is a performance that is a step ahead of last year’s Sita Ramam in many ways. Chinmayi’s dubbing adds to the impact.
Hi Nanna is a heartwarming story of a father and daughter along with a mother battling her own inner demons, a definite breadth of fresh air which needs to be seen.
Cast: Ishaan Khattar, Priyanshu Painyuli, Mrunal Thakur, and Soni Razdan
Director: Raja Krishna Menon
Producers: Ronnie Screwvala and Siddarth Roy Kapur
Music: AR Rahman
Runtime: 2 hours 19 minutes
OTT Platform: Amazon Prime Video
The significance of the 1971 Bangladesh War goes beyond winning the battle against Pakistan. It is more about liberating the large number of refugees who have faced many atrocities.
In a scene in Pippa, Ishaan Khattar’s character talks about how this is the first military battle fought to free the helpless.
For those who are not aware, Pippa is based on the book titled “Burning Chaffees“. Ishaan Khattar plays Brigadier Balram Singh Mehta (the author) aka Balli.
Ram Mehta (Priyanshu Painyuli), an army officer, is the elder brother of Balli. Ram’s personality is different from that of Balli. Not surprisingly, both brothers often find themselves at odds.
Their sister Radha (Mrunal Thakur) is an expert at cryptography and quite rebellious, too. This comes out well in a scene where we see her participating in a college protest.
Mrs Mehta (Soni Razdan) is their mother.
Balli’s family is a refugee family from Rawalpindi, West Pakistan. There is a brilliant scene when Mrs Mehta talks about how people don’t become refugees by choice.
As the story progresses, all three siblings play a vital role in the Indian victory.
Analysis
The first feeling that comes to viewers’ minds after watching Pippa is why it was not released in theatres. The war sequences have been brilliantly shot, and if seen on the big screen, the impact would have been tenfold.
Pippa has all the elements needed for a big theatrical experience. However, there is no point in dwelling on that now.
So, let’s go into the analysis. Raja Krishna Menon does not waste any time in setting up the plot.
There is a graphic representative story at the start that shows many people in East Pakistan being gunned down. This disturbs us, and you will instantly empathise with Bangladeshis.
After that, the director establishes the relationship dynamics of these siblings, which adds to the human drama when Ram becomes a war prisoner.
For those who don’t know, Pippa is a nickname given to the army tank PT 76 that Balli operates. The scenes of Ishaan Khattar leading this tank are a sight to behold.
The camaraderie between the members of Balli’s squadron has some amusing moments, like the scene where the mutton is cooked when the war preparations are going on.
Ishaan cements his place in Bollywood
Mrunal Thakur and Ishan Khattar in ‘Pippa’. (X)
On the performance front, Ishaan Khattar leads the show with his impeccable act. His character starts as a constantly flirting captain. From there, we see him as an unhappy officer who notes down maintenance reports to finally being a brave commander.
Ishaan strongly pulls all these shades. With this film, the actor cements his place as a young talent who is versatile with his choices.
Priyanshu Painyuli is also equally good as the elder brother. His confrontational scenes with Ishaan give some powerful moments.
Mrunal Thakur does well both as a caring young sister and a cryptographer who helps the nation.
Soni Razdan has a brief presence, but the actress is impactful in her scenes, particularly the one where she talks about refugees.
Rahman’s music & BGM do wonders
Ishan Khattar ‘in Pippa’. (X)
AR Rahman’s music and background score complement the film.
The soundtrack is diverse, starting with “Main Parwaana“. This song brings out the playful side of Balram. The choreography and the tune go perfectly well with the setting.
On the other hand, you have the more intense “Jazbaat” that gives an adrenaline rush.
The background score is also chilling and enhances many of the war scenes.
Director Raja Krishna Menon also deserves appreciation for how he gives equal importance to the character arcs of Ram Mehta and Radha. They are blended seamlessly into the narrative.
An area where the film could have been better is the visual effects. Also, 10 minutes could have been edited.
Verdict
Not many stories about the Bangladesh war are made into films. Let’s hope Pippa will rekindle interest in that glorious chapter in Indian history for the new generation.
Directors: Zoya Akhtar, Alankrita Srivastava, Neeraj Ghaywan, and Nitya Mehra
Producers: Excel Media & Entertainment and Tiger Baby
Music: Sagar Desai, Dub Sharma, Balkrishan Sharma, and Sherry Mathews
No. of episodes: 9
OTT platform: Amazon Prime Video
The first season of Made in Heaven created by Zoya Akhtar, Nitya Mehra, Reema Kagti, Prashant Nair, Alankrita Shrivastava, and Neeraj Ghaywan was a gripping take on the affluent society of South Delhi.
In the web series, the directors looked at the hypocrisies beneath all the glitter and glamour.
At the heart of Made in Heaven are the two wedding planners Tara Khanna (Sobhita Dhulipala) and Karan (Arjun Mathur). Tara was born into a typical middle-class family but her luck changes when she gets married into a rich South Delhi family.
Karan, on the other hand, is a gay who has unattached hookups.
Through each wedding, the directors explore different topics along with the upheavals that Tara and Karan face, both professionally and personally.
Synopsis
The second season of the web show, Made in Heaven Season 2, starts with Tara and Arjun trying to reconstruct their business which is facing financial issues.
As a result, they set up their office in an old dilapidated house with a new business partner Jauharji (Vijay Raaz) reprising his role from the first part.
In order to have tight control over the financés he brings in his wife Bulbal Jauhar (Mona Singh).
Apart from her, another new addition to the team is Meher (Trinetra Haldar).
Shashank Arora and Shivani Raghuvanshi continue their parts of Kabir and Jaspreet respectively.
Much like the first season, this time too, the creators push the envelope in exposing the double standards and hypocrisies that dwell in our society through different weddings.
For example, one of the episodes is about a successful author and Professor Pallavi Menke (Radhika Apte) who asserts her Dalit identity at every step. She insists on having a Dalit Buddhist wedding in addition to a traditional ceremony.
What is also similar is the various complexities playing out in the individual lives of Tara and Arjun.
The best part of Made in Heaven Season 2 is how the directors integrated the different social aspects of our society in an engaging manner.
Yes, there are times when the viewers feel the length of the episodes could have been trimmed. However, the impact doesn’t diminish.
Each episode ends with Shashank Arora’s social commentary. He raises uncomfortable yet important questions.
The Dalit episode definitely packs a bigger punch, thanks to Neeraj Ghaywan’s direction in addition to Radhika’s fiery performance.
Other episodes also make a strong impact.
A good example of this is the one centred on Kriti Malhotra and Gulshan Raina (Neelam Kothari and Samir Soni respectively).
This episode has also been directed by Neeraj Ghaywan. Kriti and Gulshan were lovers once upon a time in college. Now in their 50s, they are having an extra-martial affair behind the backs of their respective spouses.
The episode ends with Kriti taking a bold decision that doesn’t go down well with her children.
Effortless performances
Made in Heaven Season 2 also does a good job in the way it portrays a transgender character. There is certain sensitivity both in the writing and execution of the transgender person (Trinetra Haldar) who delivers a confident performance.
Special mention must also be made of Mona Singh. Her character Bulbal comes across as a tough woman in the office. But at the same time, there is also a vulnerability in the scenes with her rebellious teenage son.
Mona Singh does a fantastic job of portraying these shades.
One of my favourite characters apart from Radhika Apte is the one played by Mrunal Thakur. She plays a beauty queen struggling in an abusive relationship. The actress does a wonderful job, particularly in the emotional bits.
Sobhita and Arjun Mathur take off effortlessly from where they left in the first season.
In the second season, Sobhita as Tara has to literally restart her life after the separation from her husband Adil (Jim Sarbh).
Tara is someone who is both vulnerable and manipulative. The actress does a good job of bringing out these shades.
Arjun Mathur is in impressive form with his arresting performance.
Final Take
To sum it up, the title “Made in Heaven” actually feels like a paradox because of the way most of the marriages in this series end up. However, it’s a worthy follow-up to the first season.
Much like its predecessor ‘Lust Stories’ (released in 2018), ‘Lust Stories 2’ also offers a fresh perspective on female desires.
Lust Stories (2018) — directed by Zoya Akhtar, Dibakar Banerjee, Anurag Kashyap, and Karan Johar — was a well-made anthology about female desire.
The protagonists in these segments belong to different generations, socio-economic statuses, and upbringings. But the common aspect that bound them was sex and lust.
The standout story in Lust Stories was the short directed by Zoya Akhtar. Her story was about a domestic worker and her boss. Zoya expertly tackled the issue of a class divide through the lens of lust.
Now, after a gap of five years, you have Lust Stories 2. Much like its predecessor, this also offers a fresh perspective on female desire.
Made For Each Other
Lust Stories 2 begins with R Balki short Made For Each Other. This short primarily looks at checking sexual compatibility before marriage. It opens with Veda (Mrunal Thakur) and Arjun (Angad Bedi).
You have both families discussing when their marriage should take place. At that exact moment, Veda’s daadi (grandmother, played by Neena Gupta) asks Veda whether she and Arjun had pre-marital sex.
As expected, this leads to a complete silence in the room. Daadi also adds that checking sexual compatibility before marriage is as important as doing a test drive before buying a car.
In the hands of a lesser actor, daadi’s dialogue may have sounded awkward. However, Neena Gupta makes the cool daadi work with her natural performance. Her scenes with Mrunal in particular are very good to watch.
Mrunal Thakur and Angad Bedi don’t have a lot to work with. Nevertheless, they make for a good lovey-dovey couple.
The Mirror
The Mirror, directed by Konkana Sen Sharma, is more intense than Balki’s short.
Isheeta (Tillotama Shome) is an individual leading a mundane life. She has repressed sexual desires.
But one day, things take a significant turn when she accidentally sees her domestic help (Amruta Subhash) engaging in a sexual act with her husband in her house (Isheeta’s).
Instead of confronting the domestic help, Isheeta gets drawn to the scene. She gets a lot of pleasure from watching them.
This segment primarily looks at the inner desires of Isheeta and the complexities that arise from her voyeurism. This short also shows that lust knows no caste, colour or gender.
Both Tillotama and Amruta Subhash are in wonderful form with their uninhibited performances. Though it reminds you of Zoya Akhtar’s short in Lust Stories, Konkana adds many more layers.
Sex With Ex
Sujoy Ghosh’s Sex With Ex is a thriller in typical Sujoy Ghosh’s style. This segment of Lust Stories 2 doesn’t completely draw you in, but it isn’t a complete waste either.
David Chauhan (Vijay Varma) is involved in an accident on the outskirts of a town. While searching for a mechanic he visits a hamlet where he runs into his ex-wife Shanti (Tamannaah Bhatia).
Shanti was assumed to be dead for a long time. Expectedly, this reunion brings a flood of memories.
The best part of this segment is the real-life sensuality that Tamannaah and Vijay Varma bring to the table. The twist at the end also takes you by surprise.
Tilchatta
The last chapter of Lust Stories 2 is Tilchatta (Cockroach) directed by Amit Ravindernath Sharma.
It deals with two issues mainly — firstly, it is about an upper-caste man who still feels that he is living in the age of kings; secondly, it is about a woman trying to find her agency in an abusive marriage.
The patriarch here is Kumud Mishra and the married woman is Kajol.
Tilchatta takes place in a sprawling haveli. Amit Ravindernath Sharma does a wonderful job of bringing out the toxicity and suffocation that Chanda (Kajol) and her son are going through in that large space.
There is an affecting subplot concerning sex workers since Chanda was a sex worker before getting into this haveli. This subplot adds more heft to the drama.
Both Kajol and Kumud Mishra bring their A-game. Kumud Mishra shows once again why he is considered a brilliant actor. He is absolutely terrific as the torchbearer of patriarchy. The way he unabashedly gazes at the bodies of women with so much lust makes the viewers hate him.
Kajol, as the woman trying to find her agency, conveys a lot with just her body language. As viewers, you want her to take the bold step which she eventually does, although things don’t go exactly according to the plan.
Verdict
Much like Lust Stories, Lust Stories 2 also makes a bold attempt at bringing taboo topics to the forefront through the digital space.
