Sekhar Kamula Interview: Nagarjuna and Dhanush stepped into ‘Kubera’ with full confidence

Director Sekhar Kamula Interview

Director Sekhar Kamula opens on his biggest film, Kubera, and hopes that the socio-political thriller will wow the audience video credit: Johan Satiidas

It is a race to end for director Sekhar Kamula and his team as they wrap post-production KuberaIs ready to release on 20 June. When we meet him at the Asian cinemas production house in Hyderabad, we feel relieved, but worshiped visually. The film starring Nagarjuna Akini, Dhanush, Rashmika Mandanna and Jim Sarbh is the most ambitious, which has a budget of more than ₹ 100 crores.

Kubera There is also a personal milestone – 25 years with the start of Sekhar Dollar dreams (2000), who won the National Award for the best first film of a director. Asked what he believes that he has been kept relevant in all these years, he smiles: “I am just happy that I am. It is easy for a writer-director. I am easy with people and do not consider cinema as a business.

Sekhar has always placed the story on the director, and says Kubera A deliberately departure from its common romantic and family drama. “It’s not a departure of who I am or my film production style, just canvas and story are big,” they say. The film, he explains, is a socio-political thriller where a billionaire capitalist (Jim Sarbh) and a beggar (Dhanush) are brought into a struggle through a middle class person (Nagarjuna). “This is a story of how the trend of survival and selfish objectives contain three economic level conflicts.”

The film begins as a thriller before delaying the emotional arcs of its characters. “The challenge was to make the emotional undercrunt a compelling as a thriller story. This kind of struggle in Indian cinema is rare,” says Sekhar. “I am proud of the film, but also a little worried, it can go in any way. I hope it ‘wow’ the audience.”

Fifteen years after his political drama Leader, Kubera Drains once again from the comments of the society of the society. He says, “When this story began, I could not indicate properly, but it developed because we discovered the characters,” they say. He remembers that his previous film too, Love storyThe one who dealt with caste and childhood trauma passed through several drafts. Kubera Balancing many narratives, was also complicated to write. She credits co-writer Chaitanya Pingali with deep sympathy for margins: “Our faith system separates us as writers. People call me sympathy, but that is more, especially towards oppressed. It comes through the film.”

Sekhar’s story lies strongly in the real world. Unlike many of his colleagues, he never moved to the industry center of the film city, instead instead of staying in Secunderabad. His tendency was shaped by his time at Havard University, USA, where a professor once advised him to inspire him, not only films, inspiration. “I didn’t plan it in this way, how I am just,” he reflects.

In a climate, dominance of high-octane action entertainers, Sekhar remains stable in its priority for realism. “I enjoy watching those films. But when I tell stories, I want them to be grounded. I do not follow the trends. For me, creative conflict to make something original is life -threatening.”

Kubera He also has his first chance to work with big stars, and he admits their ally. “Nag came saying, ‘I trust you, and I will listen to you’. The bow was equally receptive. They brought the depth of their characters.”

Rashmika Mandanna impressed her with her expressive performance: “She speaks through her eyes, chirpi, and can catch herself in commercial cinema.” He also attracted attention to the command of Jim Serb’s Telugu: “He held his lines. It makes real efforts.”

Production designer Thota Thani, who worked with Sekhar LeaderReturned to Kubera Despite the initial hesitation to contact them due to the age of the director. “When I need a scale, it is my first choice. We shot a guerrilla at real places and sets set in Mumbai. In some scenes, you can’t tell the difference on the screen.”

Cinematographer Nikath Bomi was unwell to Sekhar’s long -time associate Vijay C Kumar. “Nichet brought a young, dynamic energy. We worked well.” Music composer Devi Shri Prasad was not part of the original plan. “Initially we needed only one score and a song. But the DSP gave us attractive, commercially viable music because the scope developed.”

In 182 minutes, the film’s runtime has increased eyebrows. But Sekhar is surprised. “This length was necessary to tell such a layered story. I can’t cut it – it is all connected to each other.” Turning back, one of his early films, Anand was also a three -hour film.

As we wrap, he provides a final idea: “We are honest in making something meaningful. I hope people will join it.”