Kothapallilo Okappudu review: With the quality of content and the regressive, patriarchal stereotypes seen in many Telugu films, critics often say that more women should write, direct, and tell their own stories. There’s a hope that this will lead to fresh perspectives and real change. But as reviewer Kausalya Rachavelpula observes, Kothapallilo Okappudu, directed by a woman, sadly shows that simply having a female filmmaker is not enough if the storytelling stays stuck in the same old patterns.
This film sets out to explore the nature of belief—how myths form, why people embrace them, and how faith can be built on convenience. It’s a concept with meaning and potential. But weak execution, outdated humour, scattered storytelling, and an irregular climactic ending end up weakening the message completely.
Weak Opening, Wasted Potential
The first half of the film spends too much time on forced humour and village stereotypes. There are recording dance scenes, clichés and quirks, and nostalgic nods that feel random.
Retro-style clips of film stars like Chiranjeevi and Vijayashanti pop up now and then, but they don’t blend into the narrative. It seems like the film is using nostalgia to cover for the lack of a solid, engaging story.
Budget-Friendly Setting, But No Fresh Perspective
Like many recent Telugu films, it is like a trend now; Kothapallilo Okappudu is set in a village during the 1990s. While such a setting helps reduce production costs—requiring simpler costumes, props, and sets—it feels overused. Instead of using the backdrop to tell something new, the film just leans on nostalgia and familiar narratives.
Tries to Address Beauty Stereotypes—but Doesn’t
The film also attempts to question society’s view of women’s beauty—how fairness is often linked to attractiveness, and how love is shown as something based on appearance. But the message never becomes clear. It’s hard to tell whether the filmmaker is actually criticising this idea or simply repeating it. In the end, it feels like the film is following the same old thinking, rather than challenging it. The execution of that idea failed.
Characters Without Depth
The lead characters—Ramakrishna, Savitri, and Adilaxmi—are introduced slowly but never feel fully developed. Banerjee gives a grounded performance, while Ravindra Vijay’s portrayal of a dramatic moneylender is exaggerated to the point of absurdity. One scene even shows him lying beside a woman to recover a debt—another attempt at comedy that doesn’t land well. The heroine’s role feels thin and disconnected from the plot. The sudden shift of the characterisations feels like completely weak writing.
A Glimmer of Strength in the Second Half
The film finally finds some footing in the second half, where it begins to explore the central theme of belief and superstition. It raises strong points—how people accept miracles when they benefit from them, and how once faith is built, it becomes hard to question.
The most effective part involves the death and how the main character fabricates everything afterwards to gain something. This pull is well thought-out and shows that director Praveena Paruchuri does have a meaningful story to tell—if only she had kept the focus sharper throughout.
Ending That Misses the Mark
Unfortunately, the film’s conclusion weakens its message. Instead of questioning blind faith, it appears to support it through a neat, feel-good twist. The irregular and inconsistent ending leaves the audience with a confused and unconvincing takeaway.
That’s a Wrap
Kothapallilo Okappudu had the right idea but struggled with how to tell it. The film’s village setting and 1990s backdrop may have helped keep the budget low, but they weren’t enough to make the film engaging. With unnecessary scenes, an uninspiring item song, shallow characters, a scattered narrative, and an irregular climactic ending that contradicts its own theme, the film feels like a missed opportunity. It could have been a quiet, powerful indie story—but it needed tighter direction, stronger writing, and more emotional clarity to make a real impact.
Despite being made by a woman, which is a comparatively low percentage, the film doesn’t reflect any real shift in narrative tone or sensitivity. And here, the storytelling just doesn’t deliver.
Rating: 2/5
