Naveen (Sudheer Babu) is a seasoned filmmaker who has produced a number of blockbuster movies. He oversees productions for mass audiences. His next film is inspired by a showreel he unintentionally finds of a stunning woman. Alekhya (Krithi Shetty), the girl in the showreel, is a doctor who neither enjoys Naveen's popular movies nor is interested in acting. He learns the stunning and true story of Dr. alekhya as he tries to convince her. Much to his surprise, his life and her narrative were connected. What is the tale of the girl?
Everyone wants to take a picture with their favourite movie star, yet society as a whole pays them little attention. Why is that? This issue has been subtly handled by director Indraganti Mohan Krishna through the telling of a love tale between a director and a doctor. He discusses the problems with how society views moviemakers, but he also emphasises the challenges facing filmmakers in getting a movie funded, such as the casting couch, gossip magazines, etc.
As per usual, Indraganti spends a long time getting to the crux of the matter. The first half moves at a sluggish pace and is beset by numerous problems in the story. Fortunately, the climactic hour makes sense, and it significantly changes the otherwise uninteresting story. There are times when I'm truly impressed. The logical narrating style of Indraganti is evident. Those come and go. The total is ineffective. The story's twist and how the middle was handled were something I appreciated. However, Indraganti's treatment of casting couch problems and rumours is out of date with today's culture. Furthermore, he appears to have remained with certain cast members and outdated concepts.
Everyone wants to take a picture with their favourite movie star, yet society as a whole pays them little attention. Why is that? This issue has been subtly handled by director Indraganti Mohan Krishna through the telling of a love tale between a director and a doctor. He discusses the problems with how society views moviemakers, but he also emphasises the challenges facing filmmakers in getting a movie funded, such as the casting couch, gossip magazines, etc.
As per usual, Indraganti spends a long time getting to the crux of the matter. The first half moves at a sluggish pace and is beset by numerous problems in the story. Fortunately, the climactic hour makes sense, and it significantly changes the otherwise uninteresting story. There are times when I'm truly impressed. The logical narrating style of Indraganti is evident. Those come and go. The total is ineffective. The story's twist and how the middle was handled were something I appreciated. However, Indraganti's treatment of casting couch problems and rumours is out of date with today's culture. Furthermore, he appears to have remained with certain cast members and outdated concepts.
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