‘Kubera’ Movie Review: Sekhar Kamula’s brave film is incomplete, yet compelling

In broad words, Kubera Is there a story of a capitalist people who are below the poverty line. How these two world collide, everyone makes a difference. A Balmapati (as Jim Sarbh Neeraj Mitra) believes that ‘fame is power’. He lives in a Mumbai high growth with an infinite pool. At the other end of the spectrum are those who begging for alms, which the film described as ‘invisible’, brushing on traffic signs and at the place of worship as an discomfort.

The first hour exposed the different world. A pace opening sequence establishes the power games of business tycoon, which is not in spread with life for its ambition. The gym Sarbh does not miss a beet as a cold, calculating the antagonist. Their ability to speak Telugu, with all intonations, is a bonus.

Sekhar introduced his prominent players in a non-formal manner. When Dhanush, as a beggar, comes to view, the audience cheers. The actor has played a realistic character that represents the oppressed sections of the society in the past. Here, he takes it a notch more. Writing gives her, and her associates take a look at the life of beggars as a story to work with adequate materials. Even if wearing the best clothes of the suit and dressed, can they understand what is happening around them? Can they be exploited for bare minimum needs of food and shelter? A sequence reflects the lack of dignity in his death.

With the help of CBI officer Deepak Tej (Nagarjuna), it crosses the polar opposite world, which is now behind bars just to do his work. Nagarjuna plays the role of a man in the upheaval -row, who wants to do the right thing, but he is manipulated to go against his conscience. Nagarjuna explains the pain of his character with a restrained intensity. His body’s language and eyes express the plight of a lion, now it is closed.

The story takes some time to find its rhythm, as it changes between the characters. The production design of Nicheth Bomi’s cinematography and Thota Tharani established Neeraj Mitra’s Uber-Laxuri world, implemented structures that dwarf those working for him. At other times, Nichetha and Thani work in the background, remain invisible and meditation remains completely on the story and its characters. From Mumbai sites to the garbage dump, sufficient parts of the film appear in real places, and all adds credibility to the story.

After the card is revealed, the story comes into a boil and a cat-and-race game begins to survive. The love of a character for animals also adds depth to the proceedings.

If the three characters – Uber represents the rich, middle class, and lower levels – a fourth character brings an edge to the drama. Rashmika Mandanna’s quiet is yet to be mentioned as an effective introduction shot. As the film moves forward, it is a revelation, a combination of innocence, helplessness and gentle humor.

Through the film, Sekhar questions whether everyone’s greed and ambition should be thrown into a spiral. Do not make a chance to survive with oppressed dignity? Questions repeat and many times the writing is preached.

There are some of the best parts when the film is in a thriller zone with the possibility of turning the table. Faith, betrayal and discovery of redemption.

However, the last parts are an uncontrolled. It appears as the director, who wrote the film with his long -time colleague Chaitanya Pingali, wanted to move away from an predictive path and provide poetic justice instead.

Infections between some sequences also suddenly feel suddenly. For example, it takes some time to understand that four beggars have been brought from four different corners of the country.

A subplot involving a pregnant woman (despite being illustrated) is like a thumb in a throat; So there is a brief flashback which includes a young mother. A few years ago, remake of Sujoy Ghosh Story In Telugu Anamika), Sekhar avoided portraying her hero as a pregnant woman, arguing that she did not want to create the sympathy of the audience by showing only a pregnant woman in crisis. Here, however, this aspect is played and the character’s conclusion seems infected. A note side of the opponent is also annoying.

Some cleverly touches that they work in favor of the story, Dev’s childhood nuggets and their penance to survive. In a scene, Deva takes a bath in water that streams from a broken pipeline, against the word ‘Save Water’, which reflects the rift in the urban infrastructure. About the week of the week, the deity’s constant query and how it is associated with food and religion is a smart observation. In addition, Chakli-worthy is how a character promises to present a crown of a diamond in the temple if its problems are solved.

Kubera Leave some questions unanswered towards the end. These swallows prevent the story from being completely compelling. Music composer Devi Sri Prasad, who cleverly switchs between different worlds, ignores some rough edges with its score that is sometimes under control and at other times, Russing.

Kubera Being reduced by being a gamechanger. But it is a brave film of a director who often stays away from the ideal, and raises relevant questions. This is an enough reason to cheer.

Kubera is currently running in theaters