8 Vasanthalu

8 Vasantalu is a film about life, love, and loss.

One gave up love for his dream, another one turned love into his dream & reached her - It's everyone's story

Ananthika Sanilkumar delivers a sincere and graceful performance, adding depth and innocence to Shuddhi's journey.

The dialogues and cinematography are truly top-notch every frame is a poetic. While the storytelling is artistic and deep. But in second half it lacks somewhere.

Phanindra Narsetti just made a modern Geethanjali, and I felt my soul leave my body, not only because of the beautiful visuals but also 'cause of the dialogues, the characters, and the writing. Pure bliss. Beautiful to the core.

The whole "Goddess in You" dialogue is one of the greatest ever. Not only for the words, but also for the way it unfolds, the way the rushy background score lifting the whole sequence, and the way the goddess herself delivers it. Exactly my thoughts and if I ever make a film, this would be it, if you hadn't already made it. Imagine thinking of Geethanjali half half through the first half and the music cassette of it appearing not just once but twice on screen. I got so excited.

There are so many dialogues I want to quote here, the ones that moved me, resonated/connected with me, but doing that would make this review the whole script of 8 Vasantalu. Also, I tried remembering the dialogues exactly, while watching, but before I could finish processing one, another would arrive, and then another, and another. I can understand the depth of each dialogue and I also understand that they could only come from life experiences, both bad and good. Beautiful feels like a small word. Maybe I'll quote them one by one through my 10 rewatches in theatres.

Only my sister and an ex-online-friend know how much I hate using both social media and a phone. I'm glad that I was able to leave social media forever, 2 years ago, and I wish I could get rid of the phone entirely too in the next few years as I was hoping since long time. Loved how the goddess in this movie is exactly like me, especially in this topic. That's one of the many reasons that helped me connect with the character.

This was one of my most awaited films, right after Salaar 2 and OG. I've been literally thinking about this movie every single day since I watched that very first teaser. As I stopped (a few months ago) watching the trailers before watching any movie, even the ones with my most favourite filmmakers, I managed to do that to this film too despite this being one of my most awaited films. I'm down so bad for this, that I preferred to watch this first than one of my most favourite director's comeback film which is releasing the same day (ofc I didn't watch the trailer of it too).

And despite all the waiting, all the excitement, and all the expectations on this film, I absolutely loved it and I could even say that it surpassed my peak expectations. I had already listened to Andhamaa song 30+ times since it's release, and even though Parichayamila dropped just a couple of days ago, I already played it 20+ times. Given that how much I loved that song and the lyrics of it, nothing prepared me for how much I would cry, for how beautiful it would feel on screen, both visually and emotionally. The moment I saw that guy in the white T-shirt at the start with his face hidden, I knew what was coming.

And omg, here comes the beatifulllestttt last act. I don't even know the words to describe it properly. All I can say is that I resonated with it so much, as I absolutely love travelling and all. That says about why Charlie (2015) is on my all time favourites list since a long time. Speaking of that act, there's this one dialogue which goes "I've been a guide here for 3 three months, but only now I've felt the love Shah Jahan had for Mumtaz". And just like that, my soul left my body again. And also the way the title "8 Vasantalu" unfolds is too damn good. That's the actual twist to me.

Thank you Phanindra Narsetti for pushing me forward in my life and in my dream. Love You. Forever. Love this film. Forever.

The film presents a gentle mix of fresh ideas and a few that feel a touch outdated, all woven into a story that settles somewhere between earnest and uneven. While the intention behind the screenplay is admirable-leaning into poetic and philosophical tones-it doesn't always manage to draw the viewer in, occasionally drifting into still waters of monotony.

Several scenes and characters feel more ornamental than essential, and a certain fight sequence feels oddly misplaced in what is otherwise a romantic drama. The emotional intensity is heightened through a series of tragic departures, but their frequency begins to feel more manufactured than moving.

The Kashmir sequence and the interval scene stand tall as moments of genuine cinematic beauty. The background score attempts to stir the soul, though it sometimes veers into distraction rather than depth.

Ananthika delivers a few heartfelt moments, but much of the supporting cast seems to echo the rhythm of television melodrama. A few casting choices leave one wondering if they truly served the story.

Phanindra's direction sparkles briefly in places, though it doesn't hold a steady course throughout. The visual palette of the film is lovely-the locations are picturesque, the art direction and costumes are well-crafted, and the makeup is pleasing to the eye. The cinematography deserves a special mention for its richness, though the abundance of close-up shots feels a bit overindulgent at times.

Among the songs, one manages to linger pleasantly, while the rest pass without leaving much trace.

In all, the film has its moments of grace, but struggles to sustain them fully.

Firstly, this is the most visually STUNNING film in recent times. Not even big budget films of tollywood usually look this beautiful. I'm a photographer and I kept smiling throughout the film thinking how beautiful the light, color harmony and composition are. Andhama song is peak in terms of capturing beauty and blending it with soulful music. I can only imagine how much thought, skill and effort went into creating those frames.

Secondly, music by Hesham complemented the visuals so wonderfully. I'm glad Phanindra preferred him over others. The costumes were also beautiful; someone in the team really understands how colors work.

Thirdly, the actors are fantastic. It's ironic to say this, since the film talks about seeing beyond beauty, but Anantika and the first actor look so good together. Their performances were very natural and they have attractive smile. The second actor who comes in later half, shines in the climax but his styling (makeup and hairstyle) was off.

Finally, I think this movie was wrongly promoted as an "art film," because it is not. It looks and feels artistic, but when people think of an art film, they expect dead slow scenes with focus on abstract ideas which don't cater to the masses, but this is not such film. It is very approachable, with love story that's easy to enjoy by majority of the people.

The second half, post Kasi episode, felt a bit off. I didn't feel a connection between leads, especially in contrast to how well "the butterflies in the stomach and longing in a relationship" was captured in the first half. I felt there should have been more scenes to establish connection instead of relying solely on the montage sequences in Parichayamila song, which is magnetic and visually charming. The second half felt a bit rushed and convenient without much drama. On paper, the scenes may appear like they have dramatic highs and lows, but it didn't translate well onto the screen.

The film bounced back in the end and gave a satisfying closure. However, I keep thinking how much more effective it would have been if there were more (well written) scenes between the leads in the second half. Nevertheless, it is a good film overall, and great effort by Phanindra. I'm a fan of his way of thinking and unique voice, so would love to see more films from him.

8-Vasanthalu feels less like a traditional movie and more like reading a novel, especially one that explores the inner emotional lives of its characters. It doesn't just focus on external events but delves deep into the thoughts and psychological layers of the people we see on screen. That makes it a thoughtful and ambitious piece of cinema.

The director's unique style, strongly seen in the film Manu, is still present here, especially in the first half. The visuals, the pacing, and the use of silence carry his signature. However, For a female-centric narrative and a change in genre, the emotional connection with the audience feels more distant.

Visually, the film is rich and striking. Every frame looks like a carefully composed painting. But while the visuals are beautiful, they don't always serve the emotional or narrative flow effectively. The storytelling lacks a certain rhythm, which makes it harder for the audience to stay emotionally engaged with the characters. We know what they are going on, but we cannot able to feel the Pain or Joy in them.

One noticeable issue is the emotional similarity across all characters. Despite having different professional backgrounds and ethical viewpoints, the characters seem to share the same emotional tone and inner voice. This could be because the writer appears too deeply involved in each character's mind, resulting in dialogue and emotional responses that feel too alike. This weakens the sense of realism and individuality.

The music, while well-composed in parts, sometimes feels too loud or dramatic in scenes that would have benefited from quiet or subtle scoring. In certain places, silence could have spoken louder. Some dialogues and performances also feel a bit forced or philosophical, resembling lines from a self-help book more than organic conversations.

The film also struggles in how it handles major emotional shifts. Characters make big decisions quickly and with little emotional buildup, which makes it hard for the audience to fully understand or feel the weight behind those choices. Suddhi's arc feels almost short and fast, that we cannot actually know her deepest feelings and there is still a distance between the viewer and her. The first boyfriend's character undergoes a sudden and jarring transformation, while the second boyfriend is mostly revealed through narration rather than action. His presence is soothing in tone, but it lacks the emotional depth to leave a lasting impression.

Ultimately, this film feels like a sincere creative experiment. It is more concerned with internal reflection and artistic expression than straightforward storytelling. But in doing so, it risks alienating viewers. Just as someone used to familiar South Indian cuisine might find the taste of European food unfamiliar and distant, viewers may find the tone and structure of this film difficult to connect with at this moment. It attempts to carve a unique of storytelling and visual expression. However, with stronger grounding, maybe slowly it will resonate with everyone.