Kothapallilo Okkapudu is Praveena Paruchuri’s third film as a producer, and her first as a director. This is not the first time, though, that she has risked it all on a filmmaking project. The US-based cardiologist had to constantly shuttle between US and India to both shoot and complete post-production for her latest film that will hit theatres on July 18.
Praveena reminisces about the road trip which she took during her sabbatical after C/O Kancharapalem (2018) released, where she interacted with many villagers. She recalls, “I asked many people what they liked about the film. It hadn’t released on OTT yet. As I asked my questions, I saw that they were able to see themselves on the screen — the way the characters sit together with their friends, for drinking and dancing sessions, or the little romances they pursue. There was that relatability for them.”
Both C/O Kancharapalem and Uma Maheswara Ugra Roopasya were based in smaller towns. Meanwhile, Kothapallilo Okkapudu is set in a small village. She recalls her early memories of visiting many smaller localities in the two Telugu-speaking states. “When I first visited Hyderabad, it was as alien to me as Japan. However, the minute I went to towns, I felt a sense of comfort and groundedness. It reminded me of the place that my family and I come from. To me, India means small towns and villages.”
It’s very important to be in touch with audience to create more authentic stories, Praveena believes. She adds, “When C/O Kancharapalem came, many people said it won’t work. Three films later, they are still saying it. However, I don’t think we should judge, sitting in Jubilee Hills, what the audience wants. I don’t think that’s a good attitude. What I learnt was that if we tell the story, with neatness and cleanliness, Telugu audience will receive it very openly and encourage it.”
Praveena further talks about the reception of Kothapallilo Okappudu at the recently held public screenings. “When I think of family films, I think of Venkatesh gaaru’s movies (laughs). But surprisingly, this film is catering to all audience groups. Some scenes which I was doubtful about and yet insisted upon — it was great to see them work out. The thing is I like Telugu cinema, and represent a type of audience. When I am here, more audience like me must exist too,” she notes.
The debutant director has no qualms in admitting that she is very demanding of her team. It’s an essential quality for a filmmaker, Praveena feels, adding, “You have to be demanding. A director’s vision goes along with the producer’s risk. The ‘this is doable’ attitude is not acceptable on my sets — that approach often spreads and creates sloppiness on sets.” The debuant director attributes this to her feeling of responsibility towards audience. “If someone is spending `200 for my movie, I see it as my job to give them top-quality cinema. At the end of the day, the value of time is priceless.”
At the same time, Praveen holds audience equally responsible in these changing times where small films have bigger struggle for theatrical space. She explains, “The only way things will change is if audience comes for these films and make them financially successful — that’s when distributors will make similar decisions, and producers will have flexibility.” Praveena also takes a moment to reflect on the boons and banes of rising OTT dominance over film industry. “I don’t have anything against OTT platforms. I understand they give safety to smaller films, but some of their terms are bit too much. If they dictate terms so sternly, I don’t know what will happen of the industry. If we don’t take a stand, our art form will be compromised,” she says.
On the same note, the director recalls how she was specific about getting a theatrical release for Kothapallilo Okappudu. Praveena elaborates, “I faced hurdles for this film too, even after delivering 2 successful films. Many suggested to go for an OTT release — saying, ‘you will get your money back, it will be safe.’ However, I had already risked my money. I had put a pause on my work as a doctor. So if I am making a film with so much passion and willpower, I want it to be playing in theatres. Thankfully, Rana Daggubati gaaru, my film’s presenter, was on the same page, and I am lucky to be backed by him. I understand not many small producers have that privilege.”
Yet, Praveena is clear she doesn’t want to shift base to India to pursue her filmmaking career. She says, “If this film works, some decisions will be made about life, which also involves making more films. My base will still be abroad; that’s how I can bring a unique vision. India to me is fun, it’s about making movies — and I want to keep that outsider’s perspective. If I stay here, that perspective will be diluted.” Recalling a compliment she received at a press meet, where someone compared her work to movies of Vamsy, Praveena adds, “The films I am making, these are familiar stories. They are not too different from Jandhyala gaaru’s movies. It’s the same cinema you are watching — I am just showing them to you from my lens,” she concludes.
