Directors Tharun Bhascker, Nandini Reddy, Nag Ashwin and Sankalp Reddy focus on the making of Netflix’s first Telugu anthology film ‘Pitta Kathalu’
When the Telugu anthology film Pitta Kathalu – season 1 streams on Netflix on February 19, there are sure to be a couple of surprises. Pushing their boundaries in storytelling by 4 brief tales are well-known administrators of Telugu cinema. What started as a undertaking on the strains of Lust Tales in Telugu, developed into an anthology on energy dynamics in relationships.
Excerpts from an interview:
“I jumped at the alternative when Ashi Dua Sara [producer of the series, on behalf of Netflix] met us in Hyderabad to debate the undertaking. We stepped out of our consolation zones to discover advanced characters,” says Tharun. Shifting away from city rom-coms, he takes us into rural Telangana to relate the story of a younger lady caught in the crossfire of romance and politics.
Ramula stars Lakshmi Manchu as a politician, Naveen Kumar and newcomer Saanve Megghana. Having watched the film, I ask if Ramula is a real story. Tharun discloses that he occurs to listen to such real-life tales on a day by day foundation and was struck by how flippantly it’s taken [by people].
Taking pictures in rural Telangana turned out to be nostalgic, he says, reminiscent of the time he labored on the brief film Sainma (a Telugu slang for cinema): “I wished to return to that area and narrate a rooted story. Folks look like naive and harmless on the floor however are advanced characters.”
For the title function, Tharun thought-about Anandhi (of the Tamil film Pariyerum Perumal) who hails from Warangal, and Haarika (of Bigg Boss fame), till a staff member noticed Saanve who had auditioned for a smaller half. “She had earlier appeared in the background in a Chiranjeevi film. We knew we had discovered our Ramula; however on the day of the shoot, I used to be each excited and nervous. She needed to enact a tricky scene. The eagerness with which she labored and the vitality on set jogged my memory of directing Vijay Deverakonda and Vishwak Sen of their preliminary days of shoot,” says Tharun.
At this juncture, Nag Ashwin chips in with a phrase of reward for Saanve’s efficiency in the film.
Tharun teamed up with two of his favorite comrades, cinematographer Niketh Bommi and music composer Vivek Sagar. Niketh had a digicam that he hadn’t used for a very long time and the grainy texture it rendered, Tharun says, was excellent for Ramula. Vivek and Tharun determined to have music that contrasted the visuals. “It’s a darkish, Coen Brothers form of area and exhibits the horrors the human thoughts is succesful of. For the closing parts, Vivek determined to go all out with percussion. He additionally is aware of the right way to use silence successfully. I believe that is his finest work to this point.”
Meera, starring Amala Paul and Jagapati Babu, delves into the darker zones in marriage and Nandini phrases it as “clipping off” her household drama wings after Oh! Child. “I ventured into a brand new area. I discovered the theme — energy dynamics in a relationship — thought-provoking; it may be written in so some ways and I needn’t be frightened about field workplace calculations,” says Nandini.
She and author Radhika Anand determined to push the bar in writing and executing Meera. The concept stemmed from a Man de Maupassant story and Nandini, a fan of Roald Dahl’s twists that take readers without warning, wished to “Dahl-ise” the story: “As soon as we had the finish, we labored on the duality. We go away little hints in order that after it’s over, individuals can mirror on the film and interpret why a personality behaved a sure approach. We always distract viewers’ consideration,” says Nandini, to which Tharun says in settlement, “That occurred to me whereas watching the film.”
Nandini phrases this undertaking as her freefall right into a darker zone and she had her trusted cinematographer Richard Prasad, composer Mickey J Meyer and manufacturing designer Jayashree on board. They determined to juxtapose the sheen of the well-heeled in society with a looming darkness. “The lives of the wealthy appear shiny, like a mirage, however there could also be horrifying tales inside,” says Nandini.
They opted to have excessive extensive and shut photographs to intensify the distant however suffocating relationship between the lead pair: “And the opulent home stands witness to an ominous, macabre story.”
In a lighter vein, Nag Ashwin states that when the Netflix alternative introduced itself, he remembered his days as an aspiring director, eager to make a film and questioning the right way to go about the logistics. “Now somebody is giving us a finances to make a film and assuring that no questions can be requested. I assumed ‘nice, let’s do it’,” he laughs.
Each his function movies, Yevade subramanyam and Mahanati, weren’t in the standard Telugu cinema realm, however the director took the anthology as a chance to experiment additional.
xLife stars Shruti Haasan and introduces singer-composer-lyricist Sanjith Hegde as an actor; he performs a wizard who designs a make-believe superior digital actuality world that holds individuals in thrall. “I assumed his appears and physique language match the character. He stated he has by no means acted earlier than; I requested him to not act, simply come and do his factor and go. That labored,” says Nag.
Although xLife was conceived pre-pandemic, it was filmed solely after the restrictions have been lifted after the lockdown. The film takes us right into a hypothetical world the place individuals dwell in a digital bubble. By the way, 2020 was all about work at home. Nag, a fan of science fiction and Black Mirror, says that even when this film had come pre-pandemic, viewers would have linked with the concept: “Even earlier than we have been compelled to work at home, date from dwelling and do all the pieces from dwelling, there was the tendency to stroll in a bubble.”
xLife was filmed in 5 days however concerned elaborate set design and visible impact heavy post-production. “It required fairly a bit of planning. The simpler half was filming for 5 days throughout the pandemic; submit manufacturing took virtually three months,” he says.
The film has on board cinematographer Naveen Yadav whereas Sanjith Hegde and Soorya Praveen composed the music.
Sankalp’s first film Ghazi was filmed in a submarine and he adopted it up with Antariksham 9000kmph, set in a spaceship. Venturing right into a relationship drama area for the first time, he offers with advanced characters drawn from actual life observations. Tharun jokingly states that this time Sankalp shot a film inside a couple of rooms however the stress was as palpable as inside a submarine or a spaceship.
“The very concept of with the ability to experiment was thrilling to all of us. Folks like these you see in Pinky (referring to the characters performed by Eesha Rebba, Satyadev, Ashima Narwal and Srinivas Avasarala) exist in actuality. I can’t reveal something extra, as a result of it may well find yourself as a spoiler,” says Sankalp.
He wished to have viewers draw their very own interpretation and went with an open ending: “I ended the film with out an ending,” he says with fun.
Nevertheless, the writing concerned creating backstories for all of the characters and revealing tiny particulars all by the story. Pinky was filmed in October 2019 and it’s been an extended anticipate Sankalp and staff. Sankalp teamed up with music composer Prashanth Vihari after Antariskham and cinematographer Naveen Yadav.
As a parting shot, Tharun states that narrating brief tales of 30-35 minute period meant beginning contemporary on a clean canvas: “It felt like film faculty. The story growth and character arc, all the pieces modifications inside a short while. We might mirror society in numerous, bizarre methods. I’m certain there can be extra such thrilling content material from Telugu cinema. There have been discussions between administrators Vivek Athreya, Venkatesh Maha, Swaroop and Bharat Kamma for an anthology, and will probably be good if that materialises.”