Latest news with #Nathicharami
New Indian Express
12-07-2025
- Entertainment
- New Indian Express
Doora Theera Yaana Movie Review: A meditative leap into the emotional landscape of modern love
With Doora Theera Yaana, director Mansore offers not just a film, but a conversation; one that quietly unpacks what it truly means to love, to disagree, to travel together, and maybe, just maybe, to part peacefully. It's an intimate and daringly quiet piece of cinema from a director best known for hard-hitting social stories (Harivu, Act 1978, and a thematic cousin to his Nathicharami), though far more atmospheric, introspective, and free-floating. Here, Mansore trades the rigid frameworks of societal drama for the ever-shifting terrain of the heart. Yet, it's no less insightful, perhaps even more so. One could say this is Mansore's most personal work yet, not because it's life-based, but because it is emotionally universal. It reflects the realities of many modern couples, people trying to love each other across very real differences in temperament, vision, and desire. It's a portrait of two kinds of people: those who believe love is about growing together through compromise, and those who understand that sometimes the most compassionate thing is to let each other go. Director: Mansore Cast: Vijay Krishna, Priyanka Kumar, Sruthi Hariharan and Sharath Lohitashwa
Time of India
12-07-2025
- Entertainment
- Time of India
Doora Theera Yaana Movie Review: Love, Studied—Not Romanticised
The Times of India Jul 12, 2025, 1:07 PM IST 3.0 By Susmita Sameera "Doora Theera Yaana," directed by Mansore, delves into the complex evolution of love—how it begins with a sense of freshness, making life feel magical and dreamlike, but gradually shifts into protectiveness and eventually possessiveness, often leading to feelings of control and discomfort. The film thoughtfully questions whether the love that once brought joy and comfort can remain unchanged over time, or if letting go with dignity is sometimes a more honest path than holding on through constant compromise. Far from being a feel-good romantic tale, this film dissects the often-unspoken emotional baggage that accompanies relationships, offering a raw and reflective take on what love can become when idealism fades. Akash ( Vijay Krishna ) and Bhoomi (Priyanka Kumar) are IT professionals in Bangalore who also share a passion for music and are part of the same band. The story begins with them celebrating five years as a couple and preparing to get engaged. However, soon after their commitment, tensions arise—Bhoomi feels Akash is growing short-tempered, while Akash feels she's become increasingly nagging. Following a heated argument, they decide to take a one-week road trip—a final attempt to understand whether their relationship should continue or end. This marks the beginning of their emotional journey. Director Mansore highlights subtle incompatibilities: Akash prefers tea, Bhoomi likes coffee; he is spontaneous and thrill-seeking, she prefers structure and planning; she values quiet time together, while he enjoys being around people. Despite frequent clashes, they also show care, making compromises and small gestures to keep each other happy. Throughout the journey, they encounter various characters who serve as mirrors to their struggles: Arun Sagar as a free-spirited musician, Krishna Hebbale as an innkeeper, Vijay Shobaraj Pavoor as Akash's childhood friend, Sharath Lohithashwa and Sudha Belawadi as a happily divorced couple, and Sruthi Hariharan as Gowri from Nathicharami. Each interaction adds a layer of reflection, challenging their perceptions of love, compatibility, and commitment. Doora Theera Yaana unfolds at a slow, steady pace that draws you into the emotional journey of its lead characters. While this immersive approach works in many moments, the predictable flow can make the narrative feel stretched. The film excels in its writing—dialogues often feel like genuine relationship advice worth taking home. The emotional conflicts portrayed may resonate more with the younger generation, while older audiences might find them harder to relate to. Some situations, like the lack of basic communication in a five-year-long relationship or overreactions to small triggers in the beginning, feel slightly unconvincing. Though Vijay Krishna and Priyanka Kumar deliver strong individual performances, their lack of strong on-screen chemistry makes it difficult to root for them as a couple. What truly elevates the film is its atmosphere—stunning visuals of nature, the rhythm of the road trip, and a standout musical score. From the reimagined Ko Ko Kolike Ranga to the title track Doora Theera Yaana, the music is beautifully written and composed, with the background score adding emotional depth throughout. This isn't a typical romantic film—it's a reflective take on love, compatibility, and the quiet strain that can grow in long-term relationships. For those open to a more grounded and introspective love story wrapped in a scenic travel experience, Doora Theera Yaana is definitely worth a watch.
Time of India
30-06-2025
- Entertainment
- Time of India
Returning to Gauri from Nathicharami gave me a sense of closure: Sruthi
In the 2018 drama Nathicharami, Sruthi embodied a widow grappling with grief and unfulfilled desires; she briefly reprises this poignant role in Dooora Teera Yaana Sruthi Hariharan is returning to the familiar, impactful role of Gauri from Mansore's 2018 drama Nathicharami . The actress will now reprise the character in Mansore's upcoming Dooora Teera Yaana , in what she describes as finding a profound 'sense of closure'. ' Nathicharami has been much more than just another film in my career; Gauri was one of the most challenging roles I've played. Sometimes a character just sticks with you; you live with them for a while and carry them into your own life because their message truly resonated. That's precisely how I feel about Gauri, a woman who took ownership of her life, bold and unafraid to be herself,' she says. 'Beyond this, working with Mansore again was great, even if it was just a two-day shoot for a very small part. He's truly one of my most favourite directors to work with,' she adds. In a chat with us, Sruthi gets candid about portraying real women in cinema, how female relationships on screen have evolved, and more. I always wondered, 'Where would Gauri be five years later?' And now, we see that she's trekking, single, living her life. That aspect was just beautiful for me to return to Sruthi Hariharan 'Commercial films are yet to portray women realistically' Sruthi, who has often leaned towards bold and unconventional female characters, says, 'More than 'bold,' I'd call them 'real women' – women who aren't perfect, who make mistakes, and who thrive in the grey areas. With OTT platforms giving writers the chance to explore women in their natural settings, there's a noticeable shift in the portrayal of female characters. We now have many amazing filmmakers, both men and women, writing fantastic roles for women across all languages. It is a slow change, but it is happening. However, if you ask me if the representation of women in big commercial films, featuring major stars, has truly changed – I'm not entirely sure. Once that also begins to shift, and we can represent women as realistically as possible even in those large-scale productions, then a lot will change – perhaps even within society itself,' she says. 'Films are finally passing the Bechdel Test' Reiterating how the portrayal of women in cinema has evolved, Sruthi notes, 'The biggest improvement in the writing and portrayal of female characters since I began my career is the rise of stories exploring real, non-superficial relationships between two women. We're seeing deeper meanings given to these bonds, even between a mother-in-law and daughter-in-law, like we saw in Dabba Cartel. There are more narratives delving into compelling female dynamics. Even if it's just a single scene – and often these interactions no longer revolve around a man. There's a term for it – the Bechdel test, which requires a work to feature at least two women who talk to each other about something other than a man. I believe many films today are passing the Bechdel Test, which wasn't the case in my time.' 'It's great to see women confident enough to face the camera with minimal makeup' Beyond character depth, Sruthi also celebrates a growing trend of authenticity in female appearance on screen. 'It's truly nice to see women confident enough to face the camera with minimal makeup, not looking overly 'plasticky' or 'done up' – as real as possible. Especially after Nathicharami and even earlier with films like Rhaatee, I've done roles with no makeup. For me, it's about feeling comfortable in my own skin, and I see so many actors doing that today – I think it sends a great message to society at large and to young girls,' she says. 'Safety for women behind the scenes remains a challenge' Even as women's roles improve on screen, Sruthi notes that ensuring safety for women behind the scenes still remains a much more complicated challenge. 'Unlike an office, the film industry's 'workplace' is fluid – even a hotel lobby meeting is a workspace. So, establishing and enforcing rules extremely challenging,' she says. 'To truly safeguard women in the industry, unions and film guilds must set up independent grievance redressal cells, enforcing POSH guidelines, and making ICCs mandatory – at least in each production house, if not on every set. Change must also begin at the grassroots level – with every film set taking ownership of creating a safe, respectful, and inclusive working environment,' she says.
New Indian Express
12-06-2025
- Entertainment
- New Indian Express
Mansore's Doora Theera Yaana locks release date
Mansore, the acclaimed director behind Harivu, Nathicharami, ACT 1978, and 19.20.21, is back with his next film, Doora Theera Yaana. Produced by Devaraj under the D Creations banner, the film stars Vijay Krishna and Priyanka Kumar in the lead roles, and is set to hit theatres on July 11. A month ahead of the release, the team launched the first single — the title track — which has already struck a chord with listeners. The song, written by Kiran Kaverappa, composed by Bakkesh Ronada and Karthik, and sung by Bakkesh and Isha Suchi, was released by producer Devaraj's son, Jayaram. 'The film features six songs and two musical bits. I composed the title track with Karthik, and it's sung by me and Isha Suchi,' said Bakkesh Ronada, adding, 'We collaborated with some exceptional musicians, and the process was fulfilling.'
