The Telugu industry focuses on OTT releases this year because of Covid 19 second wave. All large films deferred their releases, and some enormous movies are figuring out how to stream on OTT stages. Tollywood has a full range of crowds and released more than 200 films in a year. Back in the days, Missing a movie in Theater makes us o stand by until it streams on a Television station.
Cinema Bandi, gushing on Netflix, is the new Telugu film to have charmed film buffs. With a hint of shock, debut chief Praveen Kandregula. An idealistic yet striving auto driver takes an intriguing turn when he discovers a piece of the excellent quality camera in his vehicle. He accumulates his kindred locals and chooses to make a film. The film grandstands how a gathering of townspeople with zero insight of movie-making makes a film. then, at that point, The non-mainstream energetic catch of the filmmaking cycle with the absolute minimum offices in the town is a gesture to Faiza Ahmad Khan’s narrative Supermen of Malegaon.
We are acquainted with Veera (Vikas Vasistha), who approaches shipping individuals in his standard auto, crossing rough paths. The discussions are definitely about the absence of downpours and awful streets in the town and the bait of the enormous city. Veera may be making barely enough to get by, yet he is a confident person; he contends that if everybody relocates to the town, who will improve things for the city, and accepts that there will be good news ahead.
Ek Mini Katha
Ek Mini Katha is a rom-com performer film director by Merlapaka Gandhi and producer by Karthik Rapolu. The film ft. Santosh Shoban, Kavya Thapar, and Shraddha Das are in lead roles. Ek Mini Katha gives the impression of those stale jokes we of t en run over on our web-based media timetable that asks to laugh, paying little heed to their hostile nature.
Straight out of the Ayushmann Khurrana-fronted sub-kind of ‘men battling masculine issues,’ this Karthik Rapolu executive follows (Santosh Shoban), a vicenarian who is uncertain about the size of his private parts. Stressed over his alleged sexual lack confusing his marriage life, later on, Santosh seeks after a heap of useless methods—tablets, a device, the holly leaves from the Himalayas, and so on—to develop the size of his organ. Albeit the different techniques neglect to develop his genital, they, notwithstanding, increase Santosh’s reserve, giving him restlessness.
Orey Bujjiga movie streaming on Aha was at first planned to be released in theaters for Ugadi. Had COVID-19 not played spoilsport, it would have been one of those movies that never reached skyward; however, it figured out how to give its views a couple of snickers during a merry end of the week. Director Vijay Kumar Konda takes up a story that feels like a blend of a few things, characters, and plot points during the 90s or mid-2000s. Sreenu false name Bujji (Raj Tarun) removes the main train from Nidadavolu when the principal discusses wedding manifests at home; his heart on another person. Krishnaveni (Malvika Nair) draws a similar train to run from her looming wedding. Somebody detects the two at the railway station and accepts that they are a couple on the run.
Colour Photo is a romantic story where a pure-hearted youth Kannayya, played by Suhas meets his woman love (Deepthi, played by Chandini Chowdhary) to discuss the recollections of his late mother. This thought would have felt shallow or emotional in another film. Be that as it may, the splendid discoursed and exhibitions transform this scene into one of the excellent marks of this hard-hitting. Sandeep Raj’s Color Photo during the 1990s. It has large numbers of the figures of speech of the heartfelt dramas from that period; for example, the opposites-are drawn toward each other develop, with, say, a rich young lady and a helpless kid.
Here, we have a darker-looking kid named after a darker-looking god and a lighter-looking young lady named Deepthi. What’s unique—and refreshing—is the profundity in the composition, which does a ton to clean the spider webs off the layout. The story opens with the news that Deepthi’s dad is dead. In any case, she’s cool, far off. She can’t cry. Somewhat later, we see that she cannot feel bliss.
In Middle-Class Melodies, Raghava (Anand Deverakonda) lives with his folks in Kolakaluru, a town close to Guntur. His family runs a little inn, and Raghava invests heavily in making Bombay chutney, which he accepts is superior to all the other things on the menu. Yet, their pay is negligible because the clients are keener on understanding papers and tattle instead of the food he serves.
Raghava accepts that he has a superior potential for success to become showbiz royalty in Guntur, around 20 km away from his town. That is the distance between his fantasies and reality; his desires and absence of economic pay, his prosperity, and disappointment. He rides between two universes, one administered by his hot-headed and profane dad and the other where he can compose his predetermination.