Sangeetha Devi Dundoo

While watching Mirai, I was occasionally reminded of actor Teja Sajja’s earlier film Hanu-Man. That superhero fantasy by director Prasanth Varma, set in a fictional world, drew on devotional texts while borrowing familiar tropes from the genre. Its engaging characters and emotional depth made audiences root for the underdog hero. This time, the canvas is wider, with a larger budget. Cinematographer-director Karthik Gattamneni, who co-wrote Mirai with Manibabu Karanam, crafts a striking visual aesthetic with production designer Nagender Tangala, art director Dasireddy Srinivas, and a skilled visual effects team. Yet beneath the spectacle lies a story that finds its footing in parts, and that makes all the difference. Indian epics are rich with fantasy steeped in devotional fervour — gods, demons, worlds on the brink of darkness, and the triumph of good over evil. What matters, however, is translating such tales into emotionally resonant storytelling for the screen.

As the end credits of Ghaati rolled, the words “The Queen – Anushka Shetty” appeared on screen. It felt apt. Anushka carries a regal presence and has proven across her 20-year career that she can embody powerful characters. Directed by Krish Jagarlamudi, this Telugu film is an action-heavy spectacle, with Anushka playing a woman seeking revenge and striving to lift her community out of an endless cycle of exploitation. Yet, the film struggles to fully realise its potential as a gripping action drama, leaning more on familiar tropes and sheer force than on nuance. The story’s broad contours will feel familiar. Those without a voice toil while business heads profit from their labour, ensuring that people cannot take matters into their own hands. When the oppressed are pushed to the brink, rebellion becomes inevitable, and every rebellion, of course, needs a leader.

Paradha is a refreshing breather in a largely machismo-driven Telugu cinema. Imagine three women, hailing from different backgrounds, on a road trip to find a solution to a crisis that one of them is caught up in. Director Praveen Kandregula’s film starring Anupama Parameswaran, Darshana Rajendran and Sangitha Krish, brims with warmth, joy, laughter, and tears. The journey gives these women a much-needed getaway from their daily grind. As they soak in the vastness of the landscapes, they question their own understanding of the world and gender equations. Despite the heavy folklore that acts as a fulcrum to the narrative, considerable portions are handled with a lightness that makes it enjoyable.

Life in rural Telangana is often portrayed in Telugu cinema as laidback and unpretentious, with its residents adding quiet character to the setting. Mothevari Love Story, now streaming on ZEE5, draws from this familiar image to tell a gentle tale of romance, sibling friction, and family ties. The series stars Anil Geela, best known for My Village Showon YouTube, in a role that nudges viewers to reflect on familial bonds. Set in Lambadipalli village, the story centres on brothers Sattaiah (Muralidhar Goud) and Narsing Yadav (RS Nandha), nicknamed Ram and Lakshman for their close bond and reputation for settling disputes at the local panchayat. But beneath the harmony, the series hints at tensions: of ego, inheritance, and simmering rivalry.

Sony LIV’s new Telugu web series, Mayasabha, opens with a familiar disclaimer: any resemblance to real people is purely coincidental. Yet it does not take long to draw parallels between its characters and the political giants who shaped undivided Andhra Pradesh. Echoes of NT Rama Rao, the actor-turned-leader; YS Rajasekhara Reddy, the doctor-turned-politician; and the current chief minister, N Chandrababu Naidu, and several others ripple throughout the storyline. Titled Rise of the Titans, the show’s first season is a sharp and dramatic commentary on the socio-political fabric of the State. Ambitious in scope and often gripping in execution, the series draws viewers into a world of power struggles, shifting loyalties and behind-the-scenes drama.

In an early scene in the Telugu film Kingdom, Soori (Vijay Deverakonda) slaps a police officer. What follows reveals the reason for his outburst layered with purpose and tact. Writer-director Gowtam Tinnanuri is not merely positioning his lead as an archetypal angry young man with swagger. While the moment might initially cater to Vijay’s ‘rowdy’ persona, the screenplay slowly peels back the layers, giving Soori’s rage emotional resonance and narrative weight. Emotional depth in storytelling is Gowtam’s calling card, evident in his earlier films Malli Raava and Jersey. It is this very quality that anchors Kingdom, keeping it from slipping into yet another larger-than-life action fantasy built for box office glory. On the surface, Kingdom might invite comparisons to KGF,Devara, or other films— with familiar tropes like gold smuggling, a forgotten island, and an oppressed people in need of a saviour. But beneath the dust and dynamite lies a story that is more emotionally driven, and steeped in moral reckoning.

Hari Hara Veera Mallu – Part 1: Sword Vs Spirit, with the tagline ‘battle for dharma’, was in the making for over five years. The delay was partly due to the pandemic, and later, the lead actor Pawan Kalyan taking on his role as Deputy Chief Minister of Andhra Pradesh. The film, originally directed by Krish Jagarlamudi, changed hands midway, with A M Jyothi Krishna stepping in to see it through. The shift is visible on screen. This period drama, blending fact and fiction, often loses its way and feels stretched. Pawan Kalyan plays Veera Mallu, a rebel who steals from the rich and helps the poor. The film takes creative liberties to build a fictional story, leaning into the actor’s public image and his alignment with sanatana dharma.

It is a scenario straight out of the wildest dreams, or nightmares. An entire village, dressed in festive finery, gathers around a specially constructed stage. There is anticipation in the air, a celebratory mood. But the master of ceremonies (Vishnu Oi), a man summoned from a neighbouring town, is left stunned when he learns the purpose of the event: a lucky draw to determine who will win slots in the village burial ground, now perilously close to running out of space. Director Ani IV Sasi, who previously helmed the offbeat Telugu romance Ninnila Ninnila, returns with Uppu Kapurambu — a madcap satire that takes on the politics of death, land, and legacy. Screenwriter Vasanth Maringanti weaves in layered subtexts touching upon gender, caste, money, and power, exposing the absurdity of fighting over land meant for one’s final rest.