u/cinephileonpurpose

veelu antha athi na kodukulu rendu telugu rashtralalo ekkada ethikina dorakaru enduko telidhu chala fake vibes aa punjabi odi reaction channel untadi ga these two are telugu version of him!

POCSO is a very sensitive topic. Sexual offences against children have been happening for ages, and to prevent such cruel acts they came up with strict laws. There wasn’t a single popular movie before “Court” that took POCSO as its central theme, so for most audiences this was probably their first exposure to what the law actually is and why such strictness exists in the first place.

But instead of first establishing why the law is necessary and the kind of trauma children go through, the film directly jumps into the “misuse” angle of the law. Even while giving context, instead of showing how fragile and legally complicated consensual intimacy between minors can be because of their age, the director stages it through “bommala pelli aata.” He should have made it clearer that even consensual intimacy between minors still falls under a legal issue because they are minors.

Now look at the Bandi Bhageerath case. So many influencers, already armed with pre-written narratives, started comparing it to “Court” and pushing the idea that the victim’s side is misusing the law for money. See the kind of damage a film like this can do to public understanding? Victims who come forward after surviving trauma and gathering immense courage are instead met with slut shaming, victim blaming, and accusations that it’s a “false case,” just like in the movie. That is bizarre and honestly dangerous.

A film dealing with such a sensitive law should have been far more responsible before centering the misuse narrative. I genuinely don’t understand how this got made with people like Nani and Darshi involved, considering they usually associate with films that carry sensitivity and good intentions.

Screw y’all.

POCSO is a very sensitive topic. Sexual offences against children have been happening for ages, and to prevent such cruel acts they came up with strict laws. There wasn’t a single popular movie before “Court” that took POCSO as its central theme, so for most audiences this was probably their first exposure to what the law actually is and why such strictness exists in the first place.

But instead of first establishing why the law is necessary and the kind of trauma children go through, the film directly jumps into the “misuse” angle of the law. Even while giving context, instead of showing how fragile and legally complicated consensual intimacy between minors can be because of their age, the director stages it through “bommala pelli aata.” He should have made it clearer that even consensual intimacy between minors still falls under a legal issue because they are minors.

Now look at the Bandi Bhageerath case. So many influencers, already armed with pre-written narratives, started comparing it to “Court” and pushing the idea that the victim’s side is misusing the law for money. See the kind of damage a film like this can do to public understanding? Victims who come forward after surviving trauma and gathering immense courage are instead met with slut shaming, victim blaming, and accusations that it’s a “false case,” just like in the movie. That is bizarre and honestly dangerous.

A film dealing with such a sensitive law should have been far more responsible before centering the misuse narrative. I genuinely don’t understand how this got made with people like Nani and Darshi involved, considering they usually associate with films that carry sensitivity and good intentions.

Screw y’all.

Midnight power cut lu, Sayantram aithe road la meeda street lights on avvavu, Free bus bullshit, Metro's being overcrowded with less ac in this peak summer making us suffocating to death w all the sweat of people and no air, SIT for POCSO, Hydra kulchivethalu, Cutting trees/Destroying green lungs for their businesses and fooling people in the name of urbanisation. UFFFFF !!!!!

Are we dooming day by day?

athadu should honestly be studied in books on how to make a commercial film with so much depth, nuance, and a perfect understanding of character arc. it’s filled with amazing scenes, but let’s deep dive into this particular one because it acts as the key shift, or in writing terms, the catalyst, for the entire narrative to change.

this entire sequence is so goddamn well written and staged. rajeev kanakala feels exactly like that overly friendly co-passenger or stranger almost all of us would have come across at least once in life. he casually mentions his hometown, “basaralapudi,” and mahesh’s eyes immediately fall on the missing poster carrying the same village name. the placement of the poster between them is such a brilliant staging choice because it naturally initiates the conversation about the missing boy, who is rajeev himself, instead of making the discussion feel random or forced. that visual placement alone gives the scene so much more impact.

mahesh initially stays in disbelief, thinking rajeev might just be casually talking nonsense. then rajeev pulls out his childhood photo as proof and starts opening up about his family, how he has been away from them for 12 years, and how he’s finally going back home. suddenly, the photo flies away because of the wind from the moving train. this is such an important detail. that one photo becomes a major plot device because rajeev dies in the very next sequence. if the photo had still been in his purse, the police could have easily identified that rajeev was the real pardhu and mahesh was only impersonating him. the entire suspense game would have collapsed right there.

so trivikram smartly writes the scene in a way where rajeev loses the photo while trying to prove his identity to a complete stranger. even the art department deserves appreciation here because the missing poster looks slightly torn, dusty, and old from the sides, making it believable that it has been there for a while instead of looking freshly pasted just for narrative convenience.

rajeev unknowingly feeds mahesh every bit of information about his family and past, which eventually leads him to that house and allows him to use it as a safe space for some time. even though prakash raj reaches basaralapudi through the ticket name “pardhu,” he still lacks concrete proof because the photo is gone. that’s how much detailed writing went into this setup.

love trivikram for giving us athadu.

yes. like every other they had their worst films too but i feel they are best with their artistic values and unique voice. love them!

I completed watching these two videos by Thulasi Chandu and Kranthi Vlogger about the gruesome acts allegedly committed by Bandi Sanjay Kumar’s son against a minor. What she must have gone through, man… so heartbreaking. These videos highlight the classic victim-blaming that keeps happening, and the double standards of YouTubers like Aye Jude, who seem to run their narratives only to elevate the orange party.

It’s genuinely powerful to watch people speak out. I’m happy that even common people are getting exposed to such sensitive and important issues and are raising their voices against these atrocities. I hope this continues, I hope the Constitution prevails, and I truly hope the girl gets justice, recovers well, and goes on to do great things in life.

Fuck these scumbags. They deserve to rot in hell.

I recently went back to a place that once felt like home to me.

It’s just a simple house opposite a small eatery where we used to eat during the early days of our relationship. Before I even met her, I used to sit there with my chicken wrap, looking at that house for no reason other than how peaceful it felt. It was simple, filled with flowers and greenery, and somewhere deep down I always thought, “I’d love to live in a place like this someday.”

When we started dating, I took her there too. She loved it the same way I did. We’d eat pani puri at the small stall opposite the house, tease each other, talk for hours, and somehow that entire street felt warm and alive.

For almost two years, that place carried a kind of comfort I can’t really explain.

After the breakup, I visited it again recently.

Nothing felt the same anymore. The warmth was gone. Even the street looked different to me. And strangely, I started drawing a parallel between that place and myself. After the relationship ended, I lost a lot of who I was too. A part of me quietly died somewhere along the way.

But maybe that’s life.

Places change. People leave. Feelings fade. The warmth you once felt in a person or a place may never stay forever.

But at the end of it all, you still have yourself.

And no matter what changes around you, you shouldn’t lose your own glory. Life has to go on.