Uppu Kappurambu

Loved KeerthySuresh performance. Suhas was good too. Great production values and a fresh concept.

Story : The film is set in a fictional village called Chitti Jayapuram in the 1990s, where the village faces a bizarre dilemma when their cemetery runs out of burial space.

Apoorva, played by Keerthy Suresh, is the new village head who, along with Chinna, the graveyard's caretaker (played by Suhas), is tasked with finding a solution.

The film tackles weighty subjects like patriarchy, communal divisions, and death with dignity while encasing them in a unique, humorous story.

What is your thoughts.

Uppu Kappurambu has a storyline with great potential, and it starts off strong-especially thanks to Rana's narration in the beginning, which is particularly engaging and sets the tone perfectly.

Suhas delivers one of his best performances, bringing real depth to his role. Keerthy Suresh's character feels a bit cartoonish in the early part of the film, but her arc gradually shapes up and ends on a decent note.

The second half, however, loses some of its grip. The storytelling starts to feel weak and a bit stretched, which takes away from the initial promise.

On the brighter side, the visuals and setting are beautifully done. The locations bring the 80s village vibe alive, and that nostalgic aesthetic works really well.

While the film was pitched as a comedy, it doesn't quite land on that front. But it still works as a simple, casual watch at home-definitely better suited for an OTT release than theaters.

'Uppu Kapurambu' movie review: An interesting idea undone by an overdrawn narrativeKeerthy Suresh and Suhas anchor a partly-entertaining dramedy on life, death and everything in between. It is a scenario straight out of the wildest dreams, or nightmares. An entire village, dressed in festive finery, gathers around a specially constructed stage. There is anticipation in the air, a celebratory mood. But the master of ceremonies (Vishnu Oi), a man summoned from a neighbouring town, is left stunned when he learns the purpose of the event: a lucky draw to determine who will win slots in the village burial ground, now perilously close to running out of space. Director Ani IV Sasi, who previously helmed the offbeat Telugu romance Ninnila Ninnila, returns with Uppu Kapurambu - a madcap satire that takes on the politics of death, land, and legacy. Screenwriter Vasanth Maringanti weaves in layered subtexts touching upon gender, caste, money, and power, exposing the absurdity of fighting over land meant for one's final rest. Set in the fictional village of Chitti Jayapuram in 1990s undivided Andhra Pradesh, the film creates a universe that feels both outlandish and uncannily believable. The absurdity is deliberate, but the attention to detail - be it in Sri Nagendra Tangala's production design, Poojita Tadikonda's pitch-perfect costumes, or Divakar Mani's earthy cinematography - grounds the story in a very real milieu. Sweekar Agasthi's music, too, hits the right notes, adding whimsy without overplaying its hand. It takes a while to settle into the film's farcical, morbid tone. One early scene sets the stage following the death of a village head - his burial becomes less a solemn occasion and more a social gathering, complete with idle gossip, performative weeping and irreverent humour. His daughter, Apoorva (Keerthy Suresh), is reluctantly thrust into the spotlight as the heir to the post - a role passed down through generations. Things spiral when Chinna (Suhas), the caretaker of the village graveyard, discovers that burial space is rapidly running out. This simple logistical issue triggers a snowballing crisis of power, privilege, and pettiness. Apoorva, woefully inexperienced, fumbles through her newfound responsibilities. Her bungled attempts at diplomacy are laced with biting satire, particularly in a scene where she tries to deflect scrutiny by bringing up the Iran war and tomato prices in the same breath. Babu Mohan as a well-off, elderly aspirant for her position, and Shatru as a fiery young challenger, embody the absurd politicking that underpins this death-centric tale. Sasi and Maringanti craft a village that thrives on absurdity over logic, but after a point, the humour turns laboured. The whimsy that starts off fresh begins to feel overly exaggerated and even cartoonish in tone. Amid the chaos, it is Chinna and his mother (played by a grounded Talluri Rameswari) who emerge as the film's conscience. Years of working as the graveyard's caretakers has given them the wisdom about death being the great equaliser, or is it? After all, the elite still manage to secure premium burial plots and ornate headstones. As the film sprawls into multiple subplots, Uppu Kapurambu loses some of its sharpness. The 2-hour-14-minute runtime begins to drag, weighed down by gags and a wavering tone. However, the narrative regains some traction in its final act. The film ends on a poignant note, reflecting on how status and pride, often derived from power and wealth, can prove futile in the face of mortality. Apoorva's evolution into a village leader is conceptually compelling, but her arc lacks emotional heft. Keerthy Suresh gives it her best, yet the comedic beats written for her character rarely land. It's only in the final scenes, when she muses on the symbolism of the film's title, that she finds her footing. Suhas, ever dependable, brings nuance and relatability to Chinna. His performance, understated yet effective, carries the emotional weight that the film sometimes fumbles elsewhere. Uppu Kapurambu has an intriguing premise and flashes of brilliance, but its inconsistent execution stops it from becoming a truly memorable satire.

A rural story set in an earlier period, featuring a woman as the lead who becomes the leader of a village and resolves a problem. The main conflict arises when a shortage of burial space in the village graveyard enters the plot, and the solution stands out because it goes against the village's traditions. The plot goes as finding solution to the problem. A slow run story, but this film might not disappoint viewers looking for a fresh or engaging story. It's a decent film that stands on uniqueness of different characters and keeps engaging in unexpected scenes. This movie successfully balances entertainment and depth, would be better if the beginning scenes shorten.

This movie takes a little time to draw you in, but as a fan of The Office, I didn't mind the gradual setup. Once it finds its rhythm, the music makes a striking entrance, almost as if you're watching a play where the score itself is narrating the story.

In a world dominated by the action sequences, enhanced by seamless CGI and VFX, this movie feels so refreshing-like a cool breeze in the world of ACs. While this genre is packed with similar films, this one confidently earns its place among them.

I thoroughly enjoyed the film-the characters were vibrant and lived up to their potential, keeping the fun alive from start to finish. Beyond the entertainment, it offers a subtle yet thoughtful commentary on modern-day mindsets, something worth reflecting on. Technically, the film is polished, with no compromises in execution.

Rana's narration in the beginning was particularly engaging, setting the tone perfectly. The storytelling, backed by Vivek Sagar's brilliant work, shines throughout. The entire cast delivered, bringing the crew's vision to life with authenticity.

You'll find yourself smiling through most of the film, but by the end, there's a lingering weight-a bittersweet touch that stays with you.

A well-crafted blend of humor, action, and heart-definitely worth a watch!