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Time of India
08-05-2025
- Entertainment
- Time of India
Daskath Movie Review: A gritty portrait of power, resistance, and rural reality
For a film to effectively tackle a serious issue, it needs a powerful antagonist—and Daskath delivers with one of the most memorable villains in recent times. Meet Yuva Shetty as Gunapaala: a monstrous caricature of unchecked power, with a bloated ego to match his bulging stomach. Always in a crisp white shirt and with a betel-stained mouth, he rules the panchayat like a deranged monarch—corrupt, cruel, and intolerant of anything that disturbs his twisted sense of order. He's not just greedy; he's pathologically opposed to discomfort. From killing a bird that dirtied his bike to silencing a barking dog, Gunapaala is driven by a toxic superiority complex, determined to keep others beneath him in every possible way. Opposing him is a fiery group of young men bent on disrupting his reign. At the centre is Shekhara (Deekshith), always in fight mode; Keshava (Mohan), torn by family duties; Baadu, entangled romantically with Gunapaala's daughter Baagi (Bhavya Poojary); and Deepu, a spirited youngster immersed in the village's cultural life. Each member of this tight-knit gang has a personal stake in the chaos created by Gunapaala. The film hinges on the idea that a single official signature—Daskath—could solve many of the villagers' problems. But in a system riddled with socio-political and cultural hurdles, the real question is: do they have the courage to stand up to the monster in power? Aneesh Poojary steers the film with clarity and conviction. The narrative captures the day-to-day reality of a remote village with striking realism—its culture, traditions, beliefs, and the challenges faced across generations. Without ever feeling preachy, the film weaves in multiple social issues with subtlety and sensitivity. While the pace dips occasionally, Aneesh restores momentum through well-timed surprises that re-engage the viewer. Two standout highlights are the background score and casting. The music, rooted in local flavour, brings emotional depth and energy to key moments. The casting is impeccable—naturalistic performances make it feel like the characters truly belong in the village. Visually, the film beautifully captures the lush, rustic essence of Kepulapalke. Daskath follows in the footsteps of regional gems like Kantara, Garuda Gamana Vrishabha Vahana, and Ulidavaru Kandanthe, showcasing Karavali's unique culture—from Daiva traditions to Hulivesha dance. Though its ambition to address numerous social issues leaves some threads unresolved, this open-endedness may be its boldest statement—reflecting rural life's messy, unfinished realities. For those who value grounded storytelling rooted in place, Daskath is a must-watch. By Susmita Sameera
New Indian Express
28-04-2025
- Entertainment
- New Indian Express
Ayyana Mane Series Review: A brooding thriller with the familiarity of TV soaps
A haunted house, a newlywed bride, and secrets that whisper through the walls— Ayyana Mane plays like a page straight out of a folklore that is stitched into a sleek six-episode mystery. Directed by Ramesh Indira and produced by Shruti Naidu, this brooding thriller walks a delicate tightrope between the familiar comforts of television and the creative liberties of streaming. Set in the lush, rain-washed 90s of Chikkamagaluru, Ayyana Mane begins with a hopeful newly-married woman Jaaji (Kushee Ravi) who steps into her husband Dushyantha's (Akshay Nayak) ancestral home—an almost too-quiet place shadowed by grief. Moments later, her father-in-law dies, and from that point on, the house seems to simmer with unease. Each creak in the floorboard and each sideways glance hints at something darker. It is at this point that another chilling discovery emerges—a trail of daughter-in-law deaths, stretching through generations. Cast: Kushee Ravi, Manashi Sudhir, Hitha Chandrashekar, Anirudh Acharya, Akshay Nayak, and Ramesh Indira Director: Ramesh Indira Streaming on: Zee5 The story unfolds in approximately 20 minute episodes, designed to hook viewers and not linger—a structural win. Each episode leaves you hanging just enough to hit the next episode button, and it is here that the show quietly flexes its format—a web series that chooses restraint over indulgence, rarely straying into filler or loud melodrama. Interestingly, Ayyana Mane also carries another label—it's Zee5's first original Kannada web series. While that's a notable move for regional content, it's also begs to ask a bold question: Can this series break away from the traditional TV template that has long defined Kannada storytelling? Can it claim the freshness that the OTT space offers? Ramesh Indira builds the mystery using an interesting blend of whodunnit and folk horror. The show taps into the cultural echoes of Daiva worship—a spiritual element that found wide popularity after Kantara. The mysterious Kondarayya, a spirit-like presence, becomes central to the narrative: is he a protector, or is his wrath behind the tragedy? The question lingers throughout, adding a folk-horror sheen to what is otherwise a grounded domestic thriller. Performance-wise, Kushee Ravi does most of the heavy lifting. Her character Jaaji is innocent but observant, fearful but never passive. It is through her eyes that we read many silences in the house— from her mother-in-law Nagalambike (Manasi Sudhir), the disturbed Charulatha, an unsettling cameo by Archana Kottige, and the uneasy Dushyantha, who is an emotionally opaque husband trying to shield secrets under the guise of tradition. Even director Ramesh Indira plays a role in the series. The other cast members—including Hitha Chandrashekar as Pushpavathi, Anirudh Acharya, and Akshay Nayak—bring depth without overplaying it, though some characters could have benefited from more nuanced development. Technically, the show is a quiet win. Rahul Roy's cinematography wraps the story in low-lit tension. There's no overuse of flashy lighting or dramatic music—instead, the mood and atmosphere is lifted through meticulous restraint. Chikkamagaluru isn't glorified either. It feels lived in, slightly cold, almost like the house is breathing along with the story. And yet, for all its craft and effort, Ayyana Mane can't completely shrug off its television roots. The storytelling dips into familiar zones—the overprotective mother, the emotionally distant husband, kitchen scenes loaded with tension, and red herrings that feel a bit too convenient. There's also the case of themes that are touched but not explored— trauma, mental illness, grief, and gender politics—all are hinted at but left underdeveloped. The plot's biggest twists lean toward safety, and while they hold your attention, they don't exactly shake you. What starts as a potentially rich psychological mystery, slowly settles into a more straightforward whodunnit. However, what works in Ayyana Mane is its intention. It doesn't want to be loud. It doesn't want to stretch forever. And even when it plays safe, it's trying to deliver a better product than what Kannada TV viewers have been fed for decades. That in itself deserves some credit. If you're someone used to Kannada television, this might feel like a much-needed upgrade—minus the over-the-top performances, and deafening music. If you're a regular OTT viewer, it's a decent weekend watch — one that brings a whiff of homegrown storytelling, even if it's not entirely pathbreaking. Ayyana Mane is a modestly gripping, atmospherically told series. It doesn't push boundaries, but it doesn't embarrass either. It's a welcome step into original Kannada storytelling. For viewers, it's a reminder that sometimes, even a house full of ghosts can feel strangely familiar.
New Indian Express
23-04-2025
- Entertainment
- New Indian Express
Kushee Ravi Interview: Medium may change, but an actor's commitment remains constant
Kushee Ravi, who rose to fame with the heartrending film Dia , is stepping into new territory with Ayyana Mane , ZEE5's first original Kannada web series. For an actor who values rehearsals, method acting, and staying true to the script, this shift to OTT is as thoughtful as it is thrilling. 'I wasn't fully prepared for OTT,' Kushee says honestly. 'But Dia got noticed only after its OTT run. That's when other industries began noticing me too. So yes, I do understand its power.' Does she see OTT as the future? 'Partially,' she reflects. 'The theatre experience can't be replicated at home. But we have to evolve with the times. I'm aligning with the present.' Everything about Ayyana Mane felt fresh—a new format, a new schedule, a new mindset. 'When director Ramesh Indira approached me, he didn't even mention it was a web series,' she recalls. 'He simply said, 'Come hear a narration.' I was on my toes. He's such a phenomenal actor—and what many don't realise is how unique he is as a director too.' It was Indira's sensitivity towards women characters that drew Kushee in. 'When I heard his vision for Ayyana Mane , I knew it would be creative, well-planned, and deeply rehearsed. And knowing it's ZEE5's first Kannada web original only added to the excitement.' Set in 1990s Chikkamagaluru, the series is a crime thriller about a joint family living in a bungalow. Three daughters-in-law have died under mysterious circumstances. When Kushee's character becomes the fourth bride in the family, she sets out to uncover the truth. Produced by Shruthi Naidu, the series blends suspense with deep-rooted family emotions. The cast also includes Akshaya Naik, Manasi Sudhir, and Vijay Shobharaj. The story also touches upon the fictional worship of Kondayya Daiva—a spiritual force inspired by Daiva traditions of coastal Karnataka. 'This is not a Kantara copy,' Kushee clarifies. 'It's a completely different tale, rooted in another region and culture.' Shot in just 20 days, the series combines mystery, thrill, and emotional resonance. 'I play a soft-spoken girl, newly married into a large household. Like many women of the '90s, she's raised to adjust and stay quiet. But she evolves. She grows stronger. She starts to speak up.' To prepare, Kushee immersed herself in the era. 'The early '90s aren't well documented, so I turned to old films—Sudharani, Soundarya—to study their body language. I spoke to my amma and ajji about their early married days. My mom grew up in a joint family and gave me amazing insights.' On set, Indira's clarity was a huge asset. 'He's a true visionary. He watched every scene with a sharp eye. If something didn't click, he would rework it instantly. I just had to follow. That kind of creative guidance is rare.' Even as she makes her OTT debut, Kushee hasn't left cinema behind. 'I have five films at different stages,' she says with pride. 'There's Son of Muthanna , Naaku Thanti —an anthology that might go bilingual— One Way , which is a bold indie experiment, and Neethi , a film that walks the line between mainstream and artistic cinema. I'm excited to see them on the big screen.' Balancing both worlds is her focus now. 'I want to explore cinema and OTT. I believe in versatility, but I also want to stay grounded in what I do.' She signs off with a sentiment that rings true for many actors making the leap: 'Medium may change, but an actor's commitment remains constant. And when it's the first of its kind, it stays special.'
