#telugu film director

[sivadigitalart]

K Vishwanath Garu!

Rest In Peace, Sir! 🙏 My deepest condolences to his family and friends!.

#RipKVishwanathGaru #Legend

#sivadigitalart

[tfgadgets]

‘Maa Nanna Superhero’ movie review: Sudheer Babu shoulders a patchy relationship drama

Sudheer Babu and Saichand in the Telugu film ‘Maa Nanna Superhero’ | Photo Credit: Special Arrangement A scene in director Abhilash Reddy Kankara’s Telugu film Maa Nanna Superhero (my dad is a superhero) shows the protagonist Johnny (Sudheer Babu) taking his house owner to task and abruptly pausing when the latter’s daughter comes into the picture. He does not want to make the man seem a…

[sarkaaribharti]

Jawan Movie: Full Review, क्या है ख़ास Shahrukh Khan की इस Movie में पूरी जानकारी।

इस साल की शुरुआत में Release हुई Pathaan movie से Shahrukh Khan ने करीब चार साल के ब्रेक के बाद जोरदार वापसी की थी। Film ने कमाई के पिछले सारे Record तोड़ दिए। बेशक Pathaan के बाद King Khan के चाहने वालों की उम्मीदें Jawan से काफी बढ़ गई हैं। Advance Booking के मामले में Jawan पहले ही Pathaan को पछाड़ चुकी है। Jawan की कहानी Film Jawan की कहानी के मुताबिक Azad (Shahrukh Khan) महिला जेल का जेलर…

[twotrey23]

#RRRMovie @rrrmovie #composer / #songwriter #MMKeeravaani @mmkunbranded & #director #SSRajamouli @ssrajamouli at tonight's special screening. #SSKarthikeya @sskarthikeya #JrNTR @jrntr #RamCharan @alwaysramcharan  #AliaBhatt @aliaabhatt #AjayDevgn @ajaydevgn #OliviaMorris @oliviakmorris @dvvmovies #RRRinUSA #movie #cinema #movies #films #Telugu #Tollywood #India #film #actor #filmmaker #writer #producer #RRRforOscars (at Ray Kurtzman Theater) https://www.instagram.com/p/CpW_DXqunyx/?igshid=NGJjMDIxMWI=

[telugutimesdigimedia]

For the first time in Mahesh's career..

It is known that Mahesh Babu is currently doing a film under the direction of Trivikram. The film is going to start with a regular shooting action sequence. Both Pooja Hegde and Sri Leela will be acting opposite Mahesh in this movie. This movie will hit the screens with a huge budget and a huge cast. Bollywood star Anil Kapoor is also going to appear in a key role in this movie.Telugu Times...

[drivingsideways]

2024 Watch List: Movie Edition

After what feels like a decade of not really watching any movies, I had a good movie year- 70 films, which is a little over a movie per week, mostly because I stuck to watching or rewatching older films. Went through most of Wong Kar Wai's filmography, which always leaves me dreamy and slightly perplexed and also a bit annoyed (complimentary); going bonkers over Interview with the Vampire S2 made me fall into French New Wave for a time- a longing to revisit Paris struck me enough to do something about renewing my passport- though naturally, it didn't improve my bank balance enough to think about actually visiting. Anyway, tbh, I was quite surprised that Hiroshima Mon Amour and Masculin Feminin, among others, are really all that. Sixty years later, Justine Triet's Anatomy of a Fall (2023) would have been my pick for best film at the Oscars- it made me want to return to watching movies in theatre.

Returned to the mothership (UK) via Merchant-Ivory productions and old British tv - Howard's End (1992) which I probably watched for the first time too early in my life, knocked me down and then took me out back and shot me in the head this time around. Maurice (1987) was everything Luca Guadagnino films aren't (y'all were just really flat out lying about Challengers being good); Heat & Dust (1983) made me a little angry, and also pushed me into reading A Passage to India (1924).

Closer home, Kim Jee-woon's weird and wonderful brain gave me Cobweb (2023), which was odd, stylish, darkly funny, and just an incredibly good film to watch some of Korea's top actors doing their thing (and some unexpected things- Jung Woo Sung's cameo, for example). Speaking of the new father (*sniggers meanly*) , I finally got to watch Kim Sung-su's era-defining "youth" film Beat (1997) and John Lee's A Moment to Remember (2004), two films that have defined Jung's career- loved the former, despite the bleak ending, and about half of the latter; it was at its best when it was being unselfconsciously horny- the sharp left into melo territory left me unmoved. It's crazy to me that it's Jung Woo-sung who keeps getting asked to re enact the "If you drink this, we're dating" dialogue for like twenty years, when that scene- and the movie- really belong to the luminous Son Ye jin. Shout out also to director Kim Sung-su's 12:12 The Day/ Seoul Spring(2023), a fictional retelling of the 1979 coup by Chun Doo-hwan which was oddly prescient about Events (TM) of December 2024 to the point where I actually said aloud- wait, I just saw this in a movie.

Hirokazu Kore-eda's Monster (2023) is a perfect film, 10/10 no notes; and I wept buckets watching Shoplifters (2018), but found Airdoll (2009) a bit icky, despite a bravura performance from the great Bae Doona. Andrew Haigh's All of Us Strangers (2023) was another film that had me crying- and it didn't surprise me later to find out that it was based on a Japanese novel by Taichi Yamada. There's just something about how Asian storytelling uses the supernatural that is easily identifiable, even when situated in a different culture.

Moonstruck (1987) turned out to be the rom com of the year for me- just PERFECT, god, imagine Hollywood used to know how to make romances????

Malayalam cinema continues to be the only Indian cinema worth watching (I said what I said): Kaathal: The Core (2023) and Thallumaala (2022) are very different films thematically and stylistically, and give you some idea of the range of what's on offer there, while the bigger Hindi/Telugu cinema industries continue to churn out headache inducing, morally and artistically bankrupt mega-hits. They're not the only ones, of course- why on earth does Emerald Fennell get to make movies, y'all? Saltburn (2023) was trash. Poor Things (2023) was even worse, if that were possible. And yet, I'm told we're going to get treated to MORE of the same. Love yourselves, guys, please.

I'm not sure what I'm looking forward to movie-wise next year, but I do hope to continue rediscovering the joy of cinema. Anyway, what've you all been watching this year? Tell me in the notes/ link me to your posts!

[starfriday]

"Steve Carell inhabits the character of Gru and wants it to be the absolute best it can be." Director Chris Renaud on Steve Carell as Gru

Mumbai, 26th June 2024: After receiving worldwide praise and captivating audiences of all ages, Gru is back! Spreading more madness than ever, and this time there are new additions to his family! Gru Jr. has joined the gang and his only purpose is to annoy his Dad, who used to be a supervillain. An Illumination production, directed by Chris Renaud and Patrick Delage, Universal Pictures (distributed by Warner Bros. Discovery) is all set to release Despicable Me 4 on 5th July. The beloved franchise returns with favourites Steve Carell as Gru, Kristen Wiig as Lucy and this time with new characters like Late Show Host Stephen Colbert as Perry, Gru’s new neighbour, Joey King as Poppy, Gru’s teenage neighbour, Emmy Winner Will Ferell as Maxime Le Mal, Gru’s long- standing nemesis and Emmy Nominee Sofia Vergara as Maxime’s girlfriend. The fourth addition of the film begins as Gru, Lucy, Margo, Edith, and Agnes welcome a new member to the family, Gru Jr., who is intent on tormenting his dad. Gru faces a new nemesis in Maxime Le Mal and his girlfriend Valentina, and the family is forced to go on the run.

Director Chris Renaud shared his thoughts on Gru, the lead character voiced by Steve Carell, saying “I mean, basically he is Gru! It's impossible to imagine what that character would be without Steve's voice. He’s also very thoughtful and caring about the role and the performance, always having a point of view about it and being almost protective. Steve Carell inhabits the character of Gru and wants it to be the absolute best it can be. When we schedule a recording session, which can be up to three hours long, I can tell you that he delivers so much energy every time. I've known him for a long time and he's just an absolute pleasure to work with.”

Despicable Me 4 is the mega animated blockbuster with wholesome fun! Catch Gru and Gang with the new Mega Minions, available in English, Hindi, Tamil and Telugu in theatres on 5th July 2024.

Despicable Me 4 | Official English Trailer 2

डेस्पिकेबल मी 4 (DESPICABLE ME 4) | Official Hindi Trailer 2 (Universal Studios) - HD

டெஸ்பிகபிள் மீ 4 (DESPICABLE ME 4) | Official Tamil Trailer 2 (Universal Studios) - HD

డెస్పిఎబుల్ మీ 4 - (DESPICABLE ME 4) | Official Telugu Trailer 2 (Universal Studios) - HD

[bollywoodirect]

Celebrating 19 Years of Bunty Aur Babli (27/05/2005).

Directed by Shaad Ali and starring #AmitabhBachchan, #AbhishekBachchan, and #RaniMukerji, Bunty Aur Babli was the first film to feature both Amitabh and Abhishek Bachchan together, with special appearances by Aishwarya Rai Bachchan. The movie's soundtrack was crafted by Shankar–Ehsaan–Loy, with lyrics by Gulzar and Blaaze. Cinematography by Avik Mukhopadhyay and editing by Ritesh Soni.

At the 51st Filmfare Awards, Bunty Aur Babli received 8 nominations, including Best Film, Best Actor (Abhishek Bachchan), Best Actress (Rani Mukerji), and Best Supporting Actor (Amitabh Bachchan). It won awards for Best Music Director (Shankar–Ehsaan–Loy), Best Lyricist (Gulzar), and Best Female Playback Singer (Alisha Chinai) for the song "Kajra Re." The film was also remade in Telugu as Bhale Dongalu (2008).

[filmmakersvision]

Best of 2024: Favorite Telugu Films

January 2, 2025

by Inakshi Chandra-Mohanty

1. Saripodhaa Sanivaaram

It’s interesting that in a year with some of the most unique films emerging from the Telugu industry, my number one film is a typical commercial action thriller. Maybe it’s the comfort of watching the usual heroics, simple romance, and good vs. evil themes, or maybe it’s to see Nani in a once in a while action role far removed from his chocolate boy, rom-com characters. Either way, Saripodhaa Sanivaaram, is by far the most entertaining Telugu film of the year. The story is about Surya, a man who resolves to fight and unleash his anger only one day of the week, leading to many hilarious encounters until he faces an evil nemesis that threatens those closest to him.

Like every other masala entertainer, it’s a blend of all genres. There is comedy in Surya’s unique fighting schedule. There is a crackling romance rehashing Priyanka Mohan and Nani’s chemistry from their previous venture, Gang Leader. There is suspense in the secrets and long-lost friendship. There is an energetic hero-villain enmity, boosted by S.J. Suryah’s psychopathic performance. And there are well-choreographed action sequences that keep our excitement alive through the end of the film. No other Indian film industry makes commercial action entertainers like the Telugu industry and Saripodhaa Sanivaaram proves it!

2. 35 Chinna Katha Kaadu

At the surface level, 35 Chinna Katha Kaadu, is the simple story of a boy who struggles to understand mathematics and a mother who is hell-bent on proving her child is not a failure. But, on a deeper level, it takes a look at the flaws in the Indian education system, one that values rote memorization over intellectual learning. Arun is an inquisitive child whose curiosity is stifled by traditional education. He is punished and ridiculed for asking questions rather than appreciated and supported. His peers, his teachers, and even his own father, don’t take him seriously. But his mother, Saraswati, a school dropout herself, takes up the mission of teaching him the concepts that baffle him using creative techniques. Their journey to escape an outdated learning culture forms the basis of this film.

The narrative prioritizes dramatic emotions, pulling at our heartstrings with the endearing mother-son bond, and emphasizing the sheer resilience of a mother to prove her son’s worth, while at the same time discovering her own. It’s as much a tale about the inquisitive childhood spirit as it is about the pertinence of respect. 35 Chinna Katha Kaadu is a sweet, wholesome, and uplifting expedition towards success.

3. Hanu-Man

In an industry known for its commercial action flicks, where even a common man can perform feats equivalent to the acts of a hero, making a good superhero film is extremely difficult. What is the need for a character with superpowers, when the typical Telegu action star with his superstrength and appealing style is already equivalent to a superhero? Writer-director Prasanth Varma dashes these myths with Hanu-Man, a film that not only presents a legitimate superhero but also delivers a cheeky commentary on the presence of larger than life protagonists in conventional Telugu cinema.

Inspired by Indian mythology and set in the fictional town of Anjanadri, this film is about a petty thief, Hanumantha, who stumbles upon an object that gives him the powers of Lord Hanuman, which he uses to protect his town from evil forces. Though the story follows the basic arc of a hero origin story with little innovation and blatant predictability, it must be admired for the way Indian traditions blend into the character and plot development supported by brilliant cinematography and visual effects. It is thoroughly unique from foreign “superhero/vigilante” content, emphasizing emotional depth and our rich culture. It is also worth noting that it is a first of its kind in this industry and the humongous success has opened doors for more content of a similar style.

4. Mathu Vadalara 2

In the last two decades, with films like Aithe, Anukokunda Oka Roju, Swamy Ra Ra, Karthikeya, Brochevarevarura, etc., Telugu cinema has seen a new age of indie action escapade content supported by experimental filmmakers. In 2018, one such talented debutante filmmaker, Ritesh Rana, contributed to this genre with the comedy caper Mathu Vadalara, introducing his ability to weave an unconventional, quirky narrative comprised of slick editing, surprising twists, and a plethora of red herrings. With Mathu Vadalara 2, he expands on the universe. In this entertaining sequel, the comical duo, Babu and Yesu, return upgraded from delivery boys to secret agents, but find themselves no more the wiser as they are once again caught in the middle of a conspiracy.

Unlike its predecessor, this film’s story and plot twists are not as exciting. But the fast-paced action, hilarious dialogues, crisp editing, and emotional connection developed with the characters, keep the energy alive. From the absurd scenarios these boys land in, to the constant parallels with a never-ending soap opera, Mathu Vadalara 2 can only be described as wild ridiculous madness.

5. Tillu Square

Twice the comedy, twice the adventure, twice the plot twists, and twice the seduction. Tillu Square, sequel to the wildly entertaining DJ Tillu, is twice the entertainment. A year after Tillu’s affair with Radhika involved him in a twisted crime-murder scenario, he again falls for an extremely attractive woman, Lilly, landing him in the midst of an even bigger scandal with connections to his past. This time, the magnitude is greater. It’s no longer a simple, local case, it’s now a matter of national security. It’s no longer small-time thugs and blackmailers making his life difficult, it is now agents and international criminals thrusting him into hell.

Like the prequel, this film has two main strengths: Tillu’s eccentric personality amped by his punchy one-liners, and the strong, sexy femme fatale that takes him for an unforgettable spin. The first is a product of Siddhu Jonnalagadda’s laidback performance and top-notch dialogue writing. The second is a combination of Anupama Parameswaran stepping miles outside her comfort zone in a never before seen avatar and the comic flair to her actions that makes even a disloyal character like Lilly, enjoyable to watch on screen. While the twists and turns are exciting, the film is not story heavy, and it is these character elements that give this otherwise typical comedy caper a unique flair.

6. Lucky Baskhar

Set in the midst of the 1992 Indian stock market scam, Lucky Baskhar faces the unusual predicament of succeeding the superhit series Scam 1992. After witnessing a detailed explanation on market manipulation by Harshad Mehta in the series, Baskhar’s frauds in the film seem oversimplified and juvenile. Hence, writer-director, Venky Atluri, chooses to not spend too much time on the plot. Instead, he focuses on the aspects of the film that would appeal to the emotions within the audience: character development, performances, and world building.

With immaculate production design, the film recreates 1990s Bombay, the city of dreams, and in that introduces Baskhar, a middle-class man struggling to make ends meet. His aspirations don’t extend beyond providing for his family and gaining minimum respect. But his inability to do so on his little salary as a bank cashier, pushes him into the illegal world of money laundering. This character is a representation of the common man, appealing to all those who struggle for basic comfort. Moments such as Baskhar’s son being forced to give away his toy due to their inability to afford a new gift, or Baskhar’s humiliation on being accosted by debtors, emotionally capture the pressures of middle-class life. And thus, Baskhar’s journey towards success, even by surreptitious means, feels personal.

[indizombie]

While appreciating the efforts of Tamil directors in making anti-caste movies, he says that the Tamil industry now at least has the presence of Dalit filmmakers and technicians which is yet to happen in Telugu. “It’s very heartening to watch movies made by people like Pa Ranjith that address caste. The movies try to tell stories of oppression, though not in their entirety. However, in Telugu, it’s still a far-fetched dream. To attribute a lower class surname or even a Muslim name to characters in Telugu movies is frowned upon. Producers and many heroes oppose the very idea of it. Telugu audiences enjoy watching a progressive movie in Tamil, but not when it is made in their own industry. Very much like how people conveniently support inter-caste marriages outside their family but create a ruckus when their own sons or daughters attempt to go against the narrative,” the director notes.

Priyanka Richi, ‘How caste is integral to the functioning of the Telugu film industry’, News Minute

[fanhackers]

Naatu Naatu–Not My Oscar Win

Much before Naatu Naatu won the Oscars for Best Song, Screen Junkies made an honest trailer for RRR. It was the first time I’d seen an Indian film—a non-Bollywood, South-Indian film at that—take up western media attention, at least on YouTube. It was a fun trailer for a fun movie; it would not be a stretch to say I enjoyed it. Then, Naatu Naatu was nominated for an Oscar. The director of the film, S.S.Rajamouli, went on Late Night with Seth Meyers, and very gently corrected the very white host when he called the film Bollywood, because it is not. The Oscars happened, Naatu Naatu won, and India—the pan-India upper-caste crowd—rejoiced for taking the global stage, never mind that “pan-India” is a contentious term that flattens out the regional diversity present in India.

As of today, there are 269 fanfics on AO3 for RRR, of which 252 are written in English. To be sure, that is more than a lot of fandoms produce on AO3 for desi media. I would not personally categorize RRR as a desi film, but it’s not not desi either. It was representation on a global stage; for a moment, the desi identity, held up against that of the Western gaze, burned bright, and a lot of desis, both in India and the diaspora, felt seen and perceived.

In her introduction to the edited essay collection, Fandom, Now in Color, Rukmini Pande talks about the ways in which race becomes an issue in fandom and fan studies only in so much as we talk about racialized media:

“…the discipline of fan studies itself has constructed a default referent for that term [fandom]—mostly white fans located in the US and UK and organized around categories like transnational and global fandom and seen to be somewhat othered by language, geographical location, or media text—K-pop fans in Brazil or fans of Star Trek in Russia, for example (Madrid-Morales and Lovric 2015; Mikhaylova 2012).” PANDE, RUKMINI. “INTRODUCTION.” IN FANDOM, NOW IN COLOR, 1-13. IOWA CITY: UNIVERSITY OF IOWA PRESS, 2020.

RRR, as a film, was a story about two freedom fighters who fought against the British rule in India—two very real freedom fighters, whom the director has admitted the film is not historically accurate about. The optics of it stand out; that, at a moment where anti-racist work seems so imminent, the award went to a song from a movie about a colonial struggle, without truly dealing with the after-effects of such a struggle on most “third-world” countries.

I don’t honestly know what connections I am drawing with this. I’ve been using Pande’s work as a way to reframe my own complex feelings about RRR winning, given the accusations of casteism S.S.Rajamouli has faced across his career, the ways in which the pan-India films have often been repackaged Bollywood, and the internal politics of South-Indian (here, specifically Telugu) identities getting melted into a singular Indian identity on a global stage with no context for the histories of these lived experiences. I’m not quite sure where I’ve arrived, but what do you think?

[letamreviews]

Top of 2022

With 19 films watched and 2 favorited from 2022, I composed a list of my top. To coincide with 2019′s pure happenstance, the list is ‘almost’ an exact third (7) of the total films watched. Anything seen after the end of February, 2023, isn’t included (with 1 exception).

Honorable Mentions: Infernal Affairs remastered trilogy (2002 - 2003), Skinamarink, Vesper, TÁR Exception: Aranock’s Queer Relativity Why’s this so late? Yes, it is late.

Blind Rating is how worthwhile the film is watching “blind” (or knowing nothing). The scale is 1 (worth it) to 5 (you must). ‘Eh is essentially a 0.5.

1. Queer Relativity | Aranock (Canada)

Saw on YouTube in early March twice and listened to atleast once. i don’t even know (i guess: i fucking love it). Y’all, this movie fucked me up. Had to pause it so many times during first viewing this shit took me back so much. fuck Also, i fucking hate it. Blind Rating: 0.5/5 | film | Teaser | Description:

Hope you all enjoy my film on queer temporalities, language, and journey of discovering self

2. RRR (India)

Saw on Netflix in Hindi with English subtitles and again in theatre in Telugu with English subs. i fucking love it. Best (official) movie of the year. Don’t waste my time. Blind Rating: 1/5 Thoughts

3. Please Baby Please (USA)

Saw at Sie FilmCenter. i really like it (? tier). Holy fucking shit, this movie. lul Definitely put some people in the mood. Thoughts Quickie

4. Avatar: The Way of Water (USA)

Saw at Hawkins Theatres in 3D HFR and again at AMC Theatres in Real 3D. i really like it (mid tier?). Thoughts 1 & 2 Quickie

5. Everything Everywhere All at Once (USA)

Saw in theatre. i really like it (mid tier?). Y’all, I saw this in a theatre with 2-3 other dudes and we all bawled during the same scene. Shit was great. Thoughts Blind Rating: 0.5/5

6. Three Thousand Years of Longing (Australia & USA)

Saw at Hawkins Theatres. i really like it (high tier). Did not expect to enjoy it so much. Glad I went (and disregarded certain reviews). Thoughts

7. Nope (USA)

Saw at Harkins Theatres and again in VR (don’t ask). i really like it (mid tier?). Really enjoyed the entirety of it, especially as a story of two siblings. While I do see this as the director changing the horror genre (again? 🤔), I’m now wondering how much of it already exists in widely unknown indie films. 😐 (shout-out to LambHoot’s “The Resident Evil they keep Remaking...” video) Thoughts 1 & 2 Blind Rating: 1/5

[apcseo]

Kajaria’s Desh Ki Mitti Campaign: A Triumph of Unity and Excellence

In a resounding celebration of 35 years of excellence, Kajaria, a pioneer in the ceramics industry, has unveiled its latest Desh Ki Mitti Campaign, featuring Bollywood stalwarts Akshay Kumar and Ranveer Singh as brand ambassadors. This 360-degree pan-India campaign, conceptualised embodies the spirit of unity that binds our nation, while spotlighting Kajaria’s commitment to providing top-tier quality products that endure the test of time.

At the heart of the campaign lies the core message, “Hum Alag Hain, Par Ek Hi Mitti Ke Hai,” which poignantly underscores our shared identity as Indians, transcending diverse backgrounds. The narrative beautifully depicts the collaboration of the two renowned actors, whose contrasting personalities converge through their love for “Desh Ki Mitti.” The ad film showcases them engaging in competitive gym workouts, dance-offs, and games of tug-of-war, only to set aside their differences when faced with a Rescue Mission. It’s a vivid portrayal of unity prevailing over individuality, a theme that resonates deeply with the campaign’s mission.

The campaign’s strategic intent is to expand its reach to Tier 2 and 3 cities, while also catering to the southern markets. To achieve this, the TVC will be released in regional languages such as Tamil, Telugu, Kannada, and Malayalam, ensuring that the message of unity and quality reaches every corner of the nation.

Rishi Kajaria, joint managing director of Kajaria Ceramics, expressed his delight in having Akshay Kumar and Ranveer Singh on board, emphasising how both icons embody the company’s values of excellence, integrity, and patriotism. He highlighted the campaign’s aspiration to inspire pride and togetherness among customers, irrespective of their geographical location.

Chetan Kajaria, joint managing director at Kajaria Ceramics, underscored the significance of the Desh Ki Mitti campaign, which has distinguished Kajaria in the crowded advertising arena. He stated that the campaign’s alignment with the company’s ideology and commitment reflects their dedication to crafting the best for the nation.

For Akshay Kumar, being part of the campaign was an honour, with the film’s message of unity and pride resonating deeply with him. Having associated with Kajaria for over 6 years, he acknowledged the incredible experience of working with the brand.

Ranveer Singh echoed the sentiments, commending the campaign’s portrayal of unity’s strength for the country. He acknowledged the brand’s commitment to excellence and innovation, which resonated with his own persona.

The Desh Ki Mitti theme, initiated six years ago, has elevated Kajaria above the advertising clutter, setting a benchmark for tile advertising. Kajaria’s collaboration with creative agency has not only delivered an inspiring campaign but has also spotlighted the significance of partnerships between brands and marketing agencies. This strategic partnership has successfully harnessed the power of creativity and celebrity influence to convey a profound message of unity and quality.

In a landscape where advertising often strives to stand out, Kajaria’s Desh Ki Mitti Campaign shines as a prime example of how creative collaborations between brands and can deliver messages that resonate deeply, inspire, and connect with diverse audiences across the nation. As Kajaria embarks on this new chapter, its commitment to excellence, innovation, and the spirit of unity remains unwavering, setting the stage for continued success and enduring impact.

This post was originally published on: Apppl Combine

[youremyheaven]

https://www.tumblr.com/youremyheaven/753636400982786048/whys-this-song-sooo-catchyyy-sreeleela-is-a?source=share

Yes!! It is. The music director ( thaman) literally sampled a Telugu meme of an old man cursing and used it inthe song. " Kurchini marthabetti de***githe " is what that old guy says , in the song they beeped out the last word . Thaman gave him 10k to this old man for using his voice & meme .

Sreeleela is a phenomenal performer . Her debut was in tollywood and she had a movie release every month in 2023 . How does she balance her studies btw she's a mbbs student and acting.

My fav performance of her is 'pulsar bike' song , she got popular with this song actually .

https://youtu.be/c9fXiv1UELo?si=jAdegfoeDPgl-uzx

Omg tysm for telling me!!! This is sooo interesting

I looked up the meme,, I don't understand anything but the grandpa seems funny as hell 😭😂 marthabetti means chair??? I saw a comment say that the grandpa was talking about attacking someone with a chair??? 😭 idk if they were kidding but what's the context??? like within the song?? ik they used chairs as props in the chorus but???

Damn he should've been paid more than 10k tho if his meme inspired a whole ass song :/

Sreeleela seems like such a Martian woman, she's such a high energy performer,, more than anything, it's her energy and power that makes her look so good while performing. It seems very Martian to me.

She only had 4 releases in 2023 👀 that math don't be mathing

But yes, that's still a lot of movies to do IN A YEAR 😭😭😭

Damn she's doing medicine??? I looked her up and apparently her mom's a famous doctor and treats many film stars?? Wow

Also Sreeleela adopted 2 kids??? when she was 21??? What 😳🤯😮?? Has she ever talked about them?? I can't find more info on it 😔

I watched the pulsar bike song and damn her energy is just 💯🥵🔥 but the song itself is kinda meh (sorry 😔) but I loooveeee Telugu dance numbers,,, all Telugu actors can dance really well. They go sooo hard. Same with Tamil dance numbers actually. They dance like they'll break all their bones , it makes you want to get up and join them 😍🥳

[twotrey23]

#RRRMovie @rrrmovie #cinematographer #KKSenthilKumar @dopkksenthilkumar , #composer / #songwriter #MMKeeravaani @mmkunbranded , #director #SSRajamouli @ssrajamouli , star #RamCharan @alwaysramcharan at tonight's special screening. #SSKarthikeya @sskarthikeya #JrNTR @jrntr  #AliaBhatt @aliaabhatt #AjayDevgn @ajaydevgn #OliviaMorris @oliviakmorris @dvvmovies #RRRinUSA #movie #cinema #movies #films #Telugu #Tollywood #India #film #actor #filmmaker #writer #producer #RRRforOscars (at The Theatre at Ace Hotel DTLA) https://www.instagram.com/p/CpR6weHOdJo/?igshid=NGJjMDIxMWI=

[padfootswhiskers]

14

17

thank you for the ask!

14. do you enjoy your country’s cinema and/or TV?

okay so. yes.

i’m very aware that indian cinema is mostly known as a meme internationally because of all the ridiculous soap opera clips that go viral, (and they really are ridiculous), or they’re just known as colourfests of singing and dancing with no real depth. but just like how a certain type of indian identity floods the international market, only a certain type of filmmaking becomes infamous.

india has MULTIPLE film industries, separated by language/region. much like its regular old history, it has a rich and vast cinematic history as well. and there truly are superb indian films! mainstream and artsy. directors like satyajit ray were absolutely groundbreaking and regularly inspire directors of the likes of martin scorsese, wes anderson and steven spielberg. hell, tarantino borrows ideas from telugu films! there is some really good stuff in here!

i recently watched a documentary on an outsider pov to hindi cinema, made for a very intriguing watch!

17. are you interested in your country’s history?

most definitely! it’s got a very long and convoluted history and what we’re taught in school is a very, very, very, very tiny and biased part of this massive lore but yes, i find it fascinating. i’m a law student so we’ve got a bunch of history again (i took science in high school) and i especially love regional history. some great stuff in there. i do not however like the actual exam we have for the subject 😭