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New Indian Express
30-06-2025
- Politics
- New Indian Express
Lite byte: Junior minister snubbed as MLAs skip district meet
1 engineer stands tall against barrage of accusations In the murky currents of water politics, not all leaks involve pipelines or canals. Word is, a hush-hush scoop from the Irrigation department somehow flowed straight into the ears of a BRS leader. Cue panic. A top official, smelling trouble, zeroed in on one unsuspecting employee like a heat-seeking missile. But the engineer? Unshaken. No stammering, no sweating—just a calm, 'Nannu nammandi, sir' (Trust me, sir), followed by a mic-drop offer to resign if found guilty. In a place where silence is golden and blame flows faster than the Godavari, his honesty stood tall — like a dam against the flood of accusations. Meanwhile, the real source of the leak? Still a mystery. No show: Fresh face gets frosty reception After the recent Cabinet expansion, newly appointed ministers were given charge of various districts. One enthusiastic minister, among the junior-most in the Cabinet, wasted no time and convened a high-level review meeting in his assigned district, only to find an empty hall. Not a single MLA showed up. What made the snub more striking was that just days ago, there were complaints that district ministers weren't being proactive. Yet here was someone trying to shake things up, and getting stonewalled. Insiders say the real reason might be power dynamics. The district boasts some political heavyweights with serious clout in the government, and word is, they weren't keen to attend a meeting chaired by a junior. Lesson for the newcomer? In politics, energy is good, but hierarchy still rules the room.
India Today
20-06-2025
- Entertainment
- India Today
Kuberaa review: Compelling premise meets conventional end in Dhanush-Nagarjuna film
Telugu filmmaker Sekhar Kammula's reputation speaks for itself. With films like 'Anand', 'Godavari', and 'Fidaa', among others, his films are rooted yet progressive at the same time. His films, even after years, make you fall in love with it all over again. His latest offering, 'Kuberaa', with a power-packed cast including Dhanush, Nagarjuna, Jim Sarbh and Rashmika Mandanna, is a film that touches upon various topics including power, money, betrayal, humanity and justice. Has he managed to strike gold again? Let's find out!Neeraj Mitra (Jim Sarbh) is a powerful and ruthless businessman who discovers oil reserves that could support India for the next 15 years. He strikes a deal with the ruling government that would benefit both parties in the long run. To help execute his plan, Neeraj approaches Deepak (Nagarjuna), an honest CBI officer who is in prison due to a false case. Although Deepak initially refuses, he eventually joins forces with Neeraj and his father after much comes up with a plan of scouting four beggars from different parts of the country to help Neeraj's vision, without knowing the consequences. One of them is Deva (Dhanush), a naive but sharp man with a zest for life. When Deepak's plan faces a snag, it sort of exposes the true faces and intentions of the people above him. Deva will have to make sense of what's happening around him and go on a journey of survival. Director Sekhar Kammula's 'Kuberaa' presents an engaging concept through the lives of three very different individuals - Neeraj, Deepak and Deva. Neeraj represents those who believe everything can be bought with money and power. Deepak, a man caught in the middle of the economic table, is honest but abandoned by law and justice. Deva is a beggar, but a man happy with what he earns. Neeraj wants to become the most influential, Deepak wants to clear the stain on his name and Deva simply wants to survive. When these three characters collide, you get 'Kuberaa'.The film takes its time introducing each character, pulling us into their worlds. The screenplay keeps you hooked, building anticipation for what's next. Sekhar Kammula does his best to keep the proceedings interesting and clever. However, as the film veers into the second half, it sinks. Until then, it stays true to the genre, belting out one twist after another, only to resort to a conventional Dhanush, as the beggar Deva, sinks his teeth into the role with the utmost sincerity. You don't see Dhanush in the role, you only see Deva and that's the biggest plus. You buy his innocence, you root for him, and you want the world to be kind to him. And he makes you feel all of this with his superlative performance. Nagarjuna brings his expertise to playing the grey-shaded role of Deepak. Sekhar Kammula's characters are always layered and Dhanush and Nagarjuna make us feel for Deva and Deepak. Jim Sarbh has a one-note character as a villain, but he does his best to make Neeraj the ruthless monster that he Mandanna, as Sameera, acts as a catalyst and is sunshine in Deva's life. When his life is at risk, she appears to save him and delivers a memorable performance. Director Sekhar Kammula's 'Kuberaa' is metaphorical in many ways. Some scenes make one understand that all of us are beggars in one way or the other. The layered understanding of life, power and money is 'Kuberaa's' Sri Prasad's background music elevates the film. However, the songs could have been avoided as they don't add much to the film's storyline. The editing could have been tighter. With a runtime of 3 hours and 2 minutes, the film does feel overly long, and it shows.'Kuberaa' raises important questions about justice, money and power. But, it is not one without flaws. The pre-climax and climax feel a bit rushed and lack emotional connect. That said, 'Kuberaa' presents a world that will keep you intrigued.3 out of 5 stars for 'Kuberaa'.
Indian Express
20-06-2025
- Entertainment
- Indian Express
Kuberaa movie review: Dhanush & co. shine bright in Sekhar Kammula's mindful ‘massy' film
Kuberaa Movie Review, Rating and Release: From the very outset, Kuberaa was going to be defined by the choices made by writer-director Sekhar Kammula. The decision to tell a story starkly different from his trademark intimate and subdued style, for starters, caught everyone's attention ahead of the release. The move to lend that story a considerably larger canvas than before became another defining facet of the film, as did the promotional tour he embarked on to discuss it. Amidst all this, the spotlight was always going to be on Kammula's storytelling approach — and how he would 'adjust' his perspective for an endeavour of this scale. Yet, with the film now in theatres, Kuberaa doesn't feel entirely removed from what the filmmaker has done before. Although it tackles the sophisticated subject of corporate power-play and its apathetic worldview, the intricate manner in which the narrative unfolds remains resonant with Kammula's past work. It carries his refreshing treatment of everyday people, their true-to-life essence, his simplicity — and also the signature quality of treating audiences with dignity and not doubting their intelligence. Take, for instance, how Dhanush's homeless character, Deva, is etched. Without diving into too much detail, the film traces how a destitute man is drawn into the world of the ultra-rich before he rises to the occasion and begins to control the game. This trope is familiar territory in cinema, and while Sekhar Kammula uses it to his advantage, he refrains from going overboard with Deva's heroism. Deva (thanks to Dhanush's measured performance) is meek, functionally illiterate, and ill-equipped in every conceivable way — but the film doesn't force him to act implausibly against his nature during pivotal moments. The same applies to how Akkineni Nagarjuna and Rashmika Mandanna's roles are handled. Nagarjuna plays a high-level fixer for a corporate conglomerate (run by Jim Sarbh's cold-blooded Neeraj Mithra and his father), while Mandanna plays Sameera, a commoner girl (comically) dealing with life's many struggles. Kuberaa understands the importance of these archetypes, but also takes care to humanise them and draw the viewer into their world. The choice of locations (the film is largely set in Mumbai), the dialogues penned by Kammula and Chaithanya Pingali (also the co-writer), and the overall tone of the performances greatly support the film's emotional core. At the same time, Kuberaa is keenly aware of being a 'pan-Indian' project, and carries a strange duality throughout its 182-minute runtime. As in Anand (2004), Godavari (2006), and Fidaa (2017), there is space allotted for natural and emotionally grounded moments which mostly play out between Deva and Sameera. Simultaneously, however, nearly every scene is packed with an intent to continually raise the stakes, which makes the narrative feel uncharacteristically high-pitched for a Sekhar Kammula film. The filmmaker, known for his restraint (and occasional cheesiness) even in heightened drama, doesn't mind dialling up the sentimentality here — and it's clear this too is a conscious choice to match the film's scale. One conspicuous shift in Kuberaa is Devi Sri Prasad's background score, which veers sharply from the 'gentleness' of someone like Mickey J Meyer. The film is heavily underscored, and the music becomes overbearing — even manipulative — at times. Niketh Bommireddy's cinematography is serviceable, while Karthika Srinivas' editing does well to hold the dense screenplay together. Still, the burden of juggling multiple responsibilities occasionally gets the better of the film. The first half hits the ground running and efficiently stacks a range of moments — the way Nagarjuna's Deepak kickstarts the story, the way Deva and Sameera stumble into the fray, and the intricate world of Benami banking, business moguls, politicians and capitalists (with Sarbh's character anchoring much of it) — all of it is well-organised and absorbing. Also Read | Sitaare Zameen Par movie review: Aamir Khan delivers fully committed performance in heart-winning comedy In contrast, the second half begins to meander, searching for the perfect moment to land its final punch. Kuberaa wears its bleeding heart on its sleeve for the marginalised, and while several scenes are effective, a few others feel repetitive and yank the pacing. On one hand, they stretch the runtime beyond a threshold and test the viewer's patience. On the other, they dilute the sprightly momentum the film had built — a momentum that could have benefited from tighter reins in the final act. If the bloated duration of the film could be overlooked, Kuberaa stands apart from all the cacophony around as a one-of-a-kind 'mass' experience. It could have used a more deft hand, yes — but it remains a rare film that asks difficult questions of its audience, and then trusts them to sit with the discomfort. Most importantly, it features a filmmaker orchestrating his cast with discernment. The actors — Dhanush, most notably — are all committed, and none of them overstep their boundaries. Watch the film to witness how a storyteller takes on power machinery with softness. Kuberaa movie director: Sekhar Kammula Kuberaa movie cast: Nagarjuna, Dhanush, Rashmika Mandanna, Jim Sarbh, Dalip Tahil Kuberaa movie rating: 3.5 stars
India Today
19-06-2025
- Entertainment
- India Today
Meet Sekhar Kammula, Telugu director who became a star without chasing stars
When a film works, the credit goes to everyone, but when it fails, the blame falls squarely on the director. That's how pivotal a filmmaker is to the fate of a movie. Now imagine a director operating in an industry driven by larger-than-life cinema, where success is measured by the number of star collaborations and box office, and experiments are few and far between. In the midst of all this, one man chooses to walk his own path quietly, Sekhar Kammula, the director of the Sai Pallavi-starrer 'Fidaa', who is now returning with 'Kuberaa', featuring Dhanush and Nagarjuna. As he completes 25 years in Telugu cinema, it's worth asking: What makes Sekhar Kammula special? And how did he become a star director without chasing stars?DO YOU HAVE A STORY TO TELL?In a recent interview with Galatta Plus, Aamir Khan said something that perfectly echoes Sekhar Kammula's approach. 'One of the qualities I look for in a director is, do you have a story to tell? Is there a story inside you that's bubbling to come out? Because when someone has a story they're dying to tell, the intensity and energy with which they tell it is completely different from someone who's telling a story just because they were asked to.' When you look at Kammula's body of work, you see exactly that. His stories feel personal, heartfelt, and Take 'Anand' (2004), where Roopa walks away from her own wedding because her individuality isn't respected. Or 'Godavari' (2006), where Sita, a strong-headed designer, chooses to travel alone to process her failures. These stories aren't constructed for effect; they are born out of a genuine urge to say something honest. Even 'Leader' (2010), his political drama, is driven less by plot twists and more by deep moral questioning - what happens when an idealist chooses to step into a corrupt system?Even 'Happy Days' (2007), a campus drama, stood out not for inventing a new genre but for how refreshingly honest and relatable it was. It was the first time college life, with all its chaos, friendships, heartbreaks and life lessons that was shown with such warmth and realism. In fact, the film's popularity influenced many students to pursue engineering, and that tells you something about the cultural imprint of his work. Kammula's storytelling is never performative. It stems from a place of deep conviction that a good story told with honesty can create magic, even without cinematic is the kingIn Sekhar Kammula's universe, the story is always the hero. His casting choices consistently favour suitability over stardom. From 'Dollar Dreams' to 'Fidaa', his leads have rarely been stars when cast. Even 'Love Story', which featured Naga Chaitanya and Sai Pallavi, made a conscious effort not to tailor the film around their popularity. Instead, the focus was on two individuals navigating love and trauma in a socially stratified closely at his filmography, and the pattern becomes clear. 'Dollar Dreams' won the National Award for Best Debut Film and featured no recognisable faces. 'Anand' made Raja and Kamalinee Mukherjee overnight sensations, but only after the film succeeded. The actors are chosen for the world they belong to, not to draw when he introduced someone like Rana Daggubati in 'Leader', it wasn't to launch a star with a mass vehicle. The film is a layered political drama where the protagonist spends more time confronting systemic corruption than delivering punchy dialogue. Similarly, 'Fidaa's' Varun is no swashbuckling hero. He spends most of the film losing love until he learns to understand it. This approach is significant because the pressure to bend the script to suit heroes, adding elevation scenes, redundant fights, and mass moments is intense in Telugu cinema. But Kammula has resisted that temptation at every is why 'Kuberaa' is such a point of curiosity. It's the first time he's directed bonafide stars like Dhanush and Nagarjuna. But early glimpses suggest that the story remains intact. It looks like the stars are in service of the narrative, not the other way around. If anything, this might be the clearest example of Kammula's confidence in his material, that he can have a star-studded cast and still keep the story as the in ideas and presentationKammula's stories often feel like gentle revolutions. They aren't loud, but they disrupt norms all the same. He entered the industry in the early 2000s, a time when Telugu cinema was largely dominated by action entertainers and formula films. Yet, he chose to talk about self-respecting women, emotionally vulnerable men, and the quiet dignity of everyday female characters are consistently nuanced and central to the narrative. 'Anand's' Roopa is strong and self-reliant, unafraid to walk out of a life she doesn't agree with. 'Godavari's' Sita is independent and career-minded, not just a romantic interest. 'Fidaa's' Bhanumathi challenges the stereotype of the demure village girl by being outspoken and proud of her roots. These women are never accessories; they shape the Kammula has even reflected on this himself. In an interview with The Hollywood Reporter India, he said: 'Very subtly I made these films, which might be female-centric films or that kind of that, but I slowly realised that I am telling the story of the oppressed or marginalised.' This explains the emotional authenticity that runs through his his male leads are no less important. In fact, one of Sekhar Kammula's most understated strengths is how he writes male characters who aren't shackled by toxic masculinity. Anand, Ram, Varun - they are sensitive, respectful, emotionally intelligent men who give space to the women in their lives. Varun giving up his American dream in 'Fidaa' isn't a plot twist, it's the culmination of emotional growth. Ram in 'Godavari' letting Chinna win the treasure hunt is another example of quiet there's his world-building. 'Godavari' unfolds on a boat ride to Bhadrachalam - an unusual, almost whimsical choice that enriches the narrative. 'Happy Days' captures the college experience with such detail that it feels like you're living it again. Every character, from Pullamma to Chinna in 'Godavari', or even side characters like Shankar in 'Happy Days', adds flavour to the aren't just aesthetic choices. They create texture, a sense of lived-in reality that makes Kammula's cinema feel immersive and immediate.A stubborn filmmakerAt the 'Kuberaa' pre-release event, director SS Rajamouli described Kammula as "stubborn". He meant it as a compliment and rightly so. In an industry that often demands compromise, Sekhar Kammula has stayed fiercely true to his has made only 10 films in 25 years. Not because of lack of opportunity, but because he believes in waiting for the right story. In his own words, he needs a story to compel him. He doesn't chase release dates, stars, or trends. He waits until he has something worth this measured pace, he's not some niche art-house filmmaker. 'Anand', 'Godavari', 'Happy Days', 'Fidaa' - these were all commercial hits. 'Happy Days' became a cultural moment, 'Fidaa' brought Telangana dialect into mainstream romance, and 'Leader' sparked real-world debates about youth in politics. And he hasn't allowed industry politics or peer pressure to change him. Kammula still lives in a modest colony. He credits his lifestyle for keeping him grounded. He says it allows him to stay close to the emotions and realities of his audience. In a world obsessed with optics and fame, this is a quiet but radical stance. His stubbornness isn't defiance. It's clarity. It's knowing exactly why he makes films and what he wants them to say. In a cinematic landscape driven by formula and fandom, Sekhar Kammula offers something rare: consistency without compromise. He has built a career not on loud successes but on quiet truths. With 'Kuberaa', he may finally be playing with stars, but the core remains unchanged. The story comes first. And perhaps that is his greatest strength, to remind us that even in the noisiest of industries, the softest voice can still be heard, if it speaks with honesty.
The Hindu
18-06-2025
- Entertainment
- The Hindu
Nagarjuna Akkineni interview: Sekhar Kammula is a great storyteller and stars like us can add value
Amid the promotional whirlwind, when Nagarjuna Akkineni finally sits down for this interview, he jokes about being the only one giving interviews while director Sekhar Kammula is tied up with last-minute post-production. Kuberaa, his first collaboration with the filmmaker, and with co-stars Dhanush, Rashmika Mandanna and Jim Sarbh, releases in cinemas in multiple languages on June 20. The trailer, which hints at a drama spanning different strata of society, has already sparked curiosity. 'Whenever we step into a new zone, we always have butterflies. We wonder whether the audience will accept it,' says Nagarjuna, who has been watching recent releases to understand audience sentiment. 'People have been receptive to films with strong drama and compelling characters, regardless of scale. In Kuberaa, we are all playing characters — we are not acting like stars. I believe that will resonate.' This collaboration has been a long time coming. Nagarjuna does not hide his admiration for Sekhar's ability to craft socially conscious, yet entertaining films that also perform well at the box office. 'We have met several times over the years, and I used to joke with him — he has worked with my wife, son, and nephew, so what is stopping him from casting me?' Amala Akkineni starred in Life is Beautiful,Naga Chaitanya in Love Story, and Sumanth played the lead in Godavari. Nagarjuna recalls, 'Sekhar would say, 'You are a big star — I am not sure you would fit into my stories'. And I would tell him, he is a brilliant storyteller, and stars like us can help bring people to the cinema. It's not just true for Telugu, Hindi or Tamil cinema — even in Hollywood, audiences go to theatres to watch a Tom Cruise or Tom Hanks film.' Hard-hitting and entertaining When Sekhar finally approached Nagarjuna for Kuberaa, the actor readily accepted. 'I do not often get such opportunities where I can truly become a character,' he says. Recalling the film's pre-release event, he adds, 'SS Rajamouli put it beautifully. He spoke about how Sekhar, who appears deceptively soft-spoken, never compromises on his principles, and that conviction shows in his storytelling.' In recent years, Nagarjuna has appeared in the action dramas Wild Dog and The Ghost, as well as the entertainer Naa Saami Ranga. While none stood out remarkably, they hinted at the actor's desire to reinvent himself. 'I was looking for something distinctive and found that in Sekhar's film,' he says. 'Take Wild Dog, for instance, the narration was solid but straightforward, with no room for commercial elements. Sekhar has this knack for placing a song where you least expect it, and making it feel organic. His films are uplifting, with strong music and a clear message. Love Story addressed caste and gender while still entertaining. It made people think. Kuberaa will do the same.' Love Story marked a turning point for Naga Chaitanya, whose emotionally nuanced performance drew praise. In Kuberaa, Nagarjuna plays a middle-class character named Deepak, opposite Dhanush's beggar, Deva, and Jim Sarbh's ultra-wealthy businessman. 'The story unfolds between these three social strata and strikes an emotional chord,' he says. 'The song 'Naadhi Naadhi' encapsulates the narrative beautifully.' The role required Nagarjuna to both unlearn and relearn. There were extensive discussions before filming began, and on set, Sekhar would brief the actors not just on the scene at hand but also on the ones preceding and following it, to offer full context. 'There were moments when Sekhar would say, 'I don't want to see confidence in your eyes, tone it down.' For another scene, he told me to let the tragedy show through my eyes, because my character knows the truth. These details made the performance feel authentic.' Nagarjuna recalls how Jim Sarbh surprised the entire team with his command over Telugu dialogue. 'He was the most hard-working among us,' he says. 'He doesn't speak a word of Telugu, yet he delivered even the longer lines with the correct intonation.' Unapologetic antagonist Back in 1988–89, Nagarjuna worked on two vastly different films in succession — Mani Ratnam's romantic musical drama Geetanjali, followed by Ram Gopal Varma's gritty actioner Siva. Decades later, history repeats itself as he juggles between the emotionally grounded Kuberaa and Lokesh Kanagaraj's high-octane action entertainer Coolie, starring Rajinikanth. He laughs at the contrast. 'I have been switching between a middle-class character and a suave antagonist,' he says. 'But both directors, and their teams, create the right environment on set. Lokesh, for instance, plays background music suited to each scene — it could be from Jailer or any Tamil, Telugu, even English film. It helps everyone get into the mood instantly.' In Coolie, Nagarjuna plays an antagonist with no room for introspection or redemption. 'He's an unapologetic, double alpha male,' Nagarjuna says. 'But there are no crass or crude scenes — it's the character's mindset that comes through. I enjoyed playing the bad guy who believes he's the king of the world and will take what he wants. When you have a protagonist like Rajinikanth, it's essential to have a formidable antagonist.' 100th film Nagarjuna will soon begin work on his 100th film. With over four decades in the industry, he believes staying relevant means keeping pace with changing audience preferences. 'It is the younger generation that's going to cinemas. We need to understand what appeals to them and present it in a way that resonates. I cannot come across as someone lecturing them. If I question why they are glued to their phones or stay up all night, they won't listen. Either I adapt to connect with them or I step aside.' He observes that audiences today are discerning about what they want to watch in cinemas versus on digital platforms. 'Some films are doing exceptionally well while others are tanking. The disparity is stark. Take Court, for instance — not a big-budget film, yet it did very well because of its strong drama.' The actor has seen the industry face existential questions thrice in his career — whether during the advent of television, the shift from film to digital, or now with OTT platforms. While acknowledging real challenges such as shorter theatrical windows and piracy, Nagarjuna remains optimistic. 'If a film is well made, the theatrical experience is still unmatched. New technology will only enhance that. The kind of viewing experience that's coming to cinemas simply cannot be recreated at home.' Speaking of the communal joy of watching films on the big screen, he offers an example. 'I watched Pushpa 2at home and again in the cinema. It was fun in the theatre, but boring at home. It's like watching a cricket match alone versus being in a stadium — cheering, feeling the excitement build. That atmosphere makes all the difference.'
