Films are often regarded as either good or bad. However, sometimes a film considered bad can still possess redeeming qualities, whether in its thematic depth, technical innovation, or fresh narrative approach. Siva Sashu’s Kali falls into this category. Though overwhelming at times, its tight 90-minute runtime helps. Brimming with philosophical discourse, references to the Hindu Yuga cycle, absurdist elements, and nods to classics like Ingmar Bergman's The Seventh Seal, Kali is a chaotic but intriguing experience.

Director: Siva Sashu

Cast: Naresh Agastya, Prince Cecil, Neha Krishnan, Narasimha Rao, Kedar Shankar, Gundu Sudershan

Sivaram, played by Prince Cecil, is a good samaritan constantly ensnared by the selfishness of those around him. His wife leaves him due to his failure to safeguard their family, a betrayal that drives him to the brink of suicide. Just as he is about to end his life, he encounters Kali, the demonic ruler of Kali Yuga. An intense, high-stakes board game decides the potential fate of Sivaram: either eternal damnation or the chance to reclaim his life.

Kali unfolds as a surrealist, single-room drama featuring a supernatural entity, a tormented protagonist, and bizarre elements like a talking lizard and cockroach. Though it begins with a brief montage of exterior scenes, the majority of the story takes place within the confines of Sivaram's home. The film leans heavily on exaggerated performances and theatrical dialogue, blurring the line between cinema and stage play. However, its unpredictable narrative, marked by continuous rule-breaking and surreal twists, provides plenty of surprises. One standout scene—a single-shot sequence where Sivaram’s entire life flashes before him, with characters from his past appearing one by one—is truly applause-worthy. 

But then again, Kali suffers from significant technical and narrative flaws. The screenplay becomes so chaotic that it’s difficult to follow, with overly philosophical dialogue that feels hollow, more telling than showing. The production design, cinematography, and performances are equally underwhelming. The flat lighting and commercial-like sets detract from the film’s potential visual appeal, and Prince Cecil's monotonous portrayal of Sivaram fails to engage. While Naresh Agastya shines with his sharp delivery, especially in his role as Kali, even his performance can’t fully salvage the film's flaws. The actors undoubtedly deserve praise for embracing the chaos of such a wild narrative. Their collective commitment to the film’s surreal vision is commendable. Considering that this is a 90-minute philosophical exploration from an unconventional storyteller, it takes real courage to dive into a project like this.

Despite the boldness of the script and its many leaps, however, the execution falters. The film clearly draws from diverse influences, such as the beautiful nod to the aforesaid Ingmar Bergman film, and the director’s ambition to blend psychological thriller with surrealist mythological drama is commendable. But the lack of technical finesse and the film’s chatty nature make the viewing experience laborious. When tackling heavy subjects like karma, salvation, and human behaviour, it’s important to make the viewer experience revelatory instead of something as blatantly talkie. Every character, including the lizard voiced by Priyadarshi, utters lengthy dialogue but never shows a true insight into life. And that’s more disappointing, because that’s what the film signs you up for—a wise cautionary tale to take home. 

Ultimately, while Kali deserves recognition for its daring experimentation, it’s hard to ignore its shortcomings. For all its creative madness, the film remains more of an intriguing effort than a fully realised success. The last time a Telugu film created this feeling was Phanindra Narsetti’s Manu and Adivi Sesh’s Karma.