First and foremost, Sekhar Kammula wants to tell an interesting story, and what’s wrong with that? Especially when not a moment is wasted in humbug. However all is not gung-ho in the clever but fidgety screenplay. The subplot about child abuse is brushed under the carpet for too long, only to be brought in finally to induce an additional rage in the climax.The beautiful songs and the exquisite dances do not occupy undue space. When they do occur they take our breath away. Sai Pallavi’s first dance act, a fusion of traditional Carnatic and Western styles is a choreographic wonder. I’ve not seen any actor male or female dance like that.The romantic jugalbandi between Chaitanya and Pallavi is lowkey, lyrical. “Who cries after a kiss?” Mouli asks Revanth as a tear trickles down the side of one eye.Who indeed? Perhaps one who knows love, no matter how intense, is a fugitive feeling? How I wish the writer-director had given us a better closure to the love story! It’s as if the narrative is exhausted and suddenly stops caring for its protagonists. Fortunately, we remain invested in the love story until the very end. And after.
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मणिपुर में हुए संघर्ष में पुलिसकर्मी और पत्रकार घायल, विस्थापित मैतेई निवासी अपने घर वापस लौटने के लिए दबाव डाल रहे हैं
मणिपुर में शांति बहाली के दावे के बावजूद, अंदरूनी विस्थापित लोगों (आईडीपी), जो अपने मूल घरों में लौटना…
