Sekhar Kammula interview: Nagarjuna and Dhanush stepped into ‘Kuberaa' with complete trust

The Hindu

19-06-2025

It has been a race to the finish for director Sekhar Kammula and his team as they wrap post-production on Kuberaa, set to release on June 20. When we meet him at the Asian Cinemas production house in Hyderabad, Sekhar appears relieved but visibly worn out. The film, starring Nagarjuna Akkineni, Dhanush, Rashmika Mandanna and Jim Sarbh, is his most ambitious yet, with a budget exceeding ₹100 crore.
Kuberaa also marks a personal milestone — 25 years since Sekhar's debut with Dollar Dreams (2000), which won the National Award for Best First Film of a Director. When asked what he believes has kept him relevant all these years, he smiles: 'I'm just happy that I am. It's easy for a writer-director to get carried away. I stay connected with people and don't treat cinema only as business. It's an art form rooted in social awareness and sensitivity. I must also credit my direction team and co-writer Chaitanya Pingali, who help keep me grounded.'
Sekhar has always placed the story above the director, and says Kuberaa marks a deliberate departure from his usual romantic and family dramas. 'It's not a departure from who I am or my filmmaking style, just the canvas and story are larger,' he says. The film, he explains, is a socio-political thriller where a billionaire capitalist (Jim Sarbh) and a beggar (Dhanush) are brought into conflict through a middle-class man (Nagarjuna). 'It's a story about how survival instincts and selfish motives clash across three economic strata.'
The film begins as a thriller before delving into the emotional arcs of its characters. 'The challenge was to make the emotional undercurrent as compelling as the thriller narrative. This kind of conflict is rare in Indian cinema,' says Sekhar. 'I'm proud of the film, but also a bit anxious, it could go either way. I just hope it makes audiences go 'wow'.'
Fifteen years after his political drama Leader, Kuberaa draws once again from Sekhar's observations of society. 'I can't pinpoint exactly when this story began, but it evolved as we explored the characters,' he says. He recalls that even his previous film, Love Story, which tackled caste and childhood trauma, went through several drafts. Kuberaa too was complex to write, balancing multiple narratives. He credits co-writer Chaitanya Pingali with bringing in deeper empathy for the marginalised: 'Our belief systems are what distinguish us as writers. People call me empathetic, but she is more so, especially towards the oppressed. That comes through in the film.'
Sekhar's storytelling is firmly rooted in the real world. Unlike many of his peers, he never moved to the industry hub of Film Nagar, choosing instead to remain in Secunderabad. His instincts were shaped by his time at Howard University, USA, where a professor once advised him to look to life, not just films, for inspiration. 'I didn't plan it this way, it's just how I am,' he reflects.
In a climate dominated by high-octane action entertainers, Sekhar remains steadfast in his preference for realism. 'I enjoy watching those films. But when I tell stories, I want them to stay grounded. I don't follow trends. For me, the creative struggle to build something original is exhilarating.'
Kuberaa is also his first time working with big stars, and he praises their collaborative spirit. 'Nag came in saying, 'I trust you, and I'll listen to you'. Dhanush was equally receptive. They brought the depth their characters needed.'
Rashmika Mandanna impressed him with her expressive performance: 'She speaks through her eyes, is chirpy, and can hold her own in commercial cinema.' He also marvelled at Jim Sarbh's command of Telugu: 'He aced his lines. That takes real effort.'
Production designer Thota Tharani, who worked with Sekhar's on Leader, returned for Kuberaa despite the director's initial hesitation to approach him due to age. 'When I need scale, he's my first choice. We shot guerilla-style in real locations and built sets in Mumbai. In some scenes, you can't tell the difference on screen.'
Cinematographer Niketh Bommi was brought on board as Sekhar's longtime collaborator Vijay C Kumar was unwell. 'Niketh brought a young, dynamic energy. We vibed well.' Composer Devi Sri Prasad wasn't part of the original plan. 'Initially we needed just a score and one song. But DSP gave us catchy, commercially viable music as the scope evolved.'
At 182 minutes, the film's runtime has raised eyebrows. But Sekhar is unfazed. 'This length was essential to tell such a layered story. I can't cut it down — it's all interlinked.' Looking back, one of his earliest films, Anand, was also a three-hour film.
As we wrap up, he offers a final thought: 'We've been sincere in making something meaningful. I just hope people connect with it.'