A character named Bulli Raju, played by child actor Revanth, mouths expletives that send grown-ups into a tizzy. We hear some of these words while the rest is masked by the background score. A section of the audience may wonder why the filmmaker makes a boy say things beyond his age. The very next minute, writer-director Anil Ravipudi’s Telugu film Sankranthiki Vasthunam reasons that the young mind has been corrupted by an overdose of content on digital platforms! Bulli Raju’s antics in an early scene bring the house down and set the tone for the film. Teaming up with Venkatesh Daggubati for the third time, after the farcical comedies F2 and F3, Anil is aware that all his target audiences want are a few good laughs. Logical reasoning and political correctness can take a backseat. Within that framework, the film delivers several laughs.

At a pre-release promotional event, director Shankar mentioned how his new film, Game Changer, considers the audience’s diminishing attention spans, shaped by Instagram Reels, and delivers engaging sequences in quick succession. This is perhaps why two-hour 45-minute film feels like a patchwork of segments opting for hurried transitions rather than seamless segways. Is Shankar’s first Telugu film (his older Tamil films were massive hits in Telugu) fun? Yes, quite a bit. Do the face-offs between Ram Charan and SJ Suryah live up to the hype? Sure, there are clapworthy lines and segments. The bigger question is, beyond the instant gratification, will these segments, or the film, stand the test of time?

Ever questioned why zero, which has no value on its own, is bigger than nine when it is preceded by 1 and becomes 10? This question recurs through the Telugu family drama 35: Chinna Katha Kaadu (not a small story), directed by debutant Nanda Kishore Emani. Are Mathematics fundamentals not to be questioned? Should a student accept the norm, learn the syllabus and pass the examinations? The film starring Nivetha Thomas, Viswadev, Priyadarshi, child actors Abhay and Arun and more than 50 children is a heartwarming and a well thought out story that encourages its viewers to look within and take that first step towards overcoming setbacks. 35 portrays children as realistically as possible and feels like a return to an age of innocence.

Some narratives tend to grow upon repeated viewing, revealing subtle details. Before the release of Pushpa 2: The Rule, revisiting the 2021 Telugu action drama Pushpa – The Rise, the origin story of Pushparaj (Allu Arjun), a coolie who rises through the ranks of a smuggling syndicate in the Chittoor district of erstwhile Andhra Pradesh, highlights how writer-director Sukumar establishes the protagonist as a potential leader. Pushpa is often framed at a higher position than the others, as he navigates tricky situations. These visual metaphors apart, there was a nuanced portrayal of how Pushpa dealt with members of the syndicate as well as the cops. His Achilles heel? Being born out of wedlock, he is frequently taunted about his surname or ‘inti peru’ (family name).

How does a business venture that does not require much investment work, a character wonders in director Karuna Kumar’s Telugu film Matka. We sell hope and buy people’s trust, explains the protagonist (Varun Tej as Vasu) whose character is inspired by gambler Ratan Khatri, also known as the ‘matka’ king. His statement and the scenes on a train that precede it, showing the potential for gambling and how it can turn ordinary citizens into addicts, perk up an otherwise predictable narrative.

How far would you go to help your loved ones? This question is oft explored in books and cinema. If done well, it can be an emotionally moving drama. Komal R Bharadwaj, who has written and directed the Telugu indie film Rahasyam Idham Jagath, gives this idea a different spin, interspersing elements of science fiction and mythology. There is romance, a bitter past, a possibility of revenge, unexplained murky happenings in an eerie setting and the possibility of time travel through a wormhole. It is an ambitious, interesting idea on paper but does not translate to an engrossing adventurous ride, despite the earnest execution of the film.

Lucky Baskhar, the Telugu film written and directed by Venky Atluri, employs the narrative technique of creating tense moments before a twist, then retracing a few steps to reveal the events that led to it, at sporadic intervals. The first time this happens, it is an indication of what the titular character is capable of. When this technique is repeated, there is the danger of it falling flat. There are occasions when we can pre-empt a twist, but the manner in which it unfolds brings a smile. This relationship drama woven around a financial scam is Atluri’s best work till date and is anchored by a powerhouse Dulquer Salmaan, who shifts seamlessly from a common man struggling to make ends meet to a shrewd banker driven by the need to make quick money.

Viswam, directed by Sreenu Vaitla, is a reminder that not everything has changed for the better with mainstream Telugu cinema. In terms of narrative style, character arcs and the plot itself, this Gopichand and Kavya Thapar starrer feels redundant. The film teems with dozen of characters and a handful of sub plots — in the name of offering wholesome entertainment — with action episodes, romance, emotional drama and mindless comedy; it can get tiresome to sit through 155 minutes of an incoherence narrative, even if one does not look for logical reasoning.

A scene in director Abhilash Reddy Kankara’s Telugu film Maa Nanna Superhero (my dad is a superhero) shows the protagonist Johnny (Sudheer Babu) taking his house owner to task and abruptly pausing when the latter’s daughter comes into the picture. He does not want to make the man seem a lesser mortal to his child. The narrative attempts to ride on the universal emotion of children seeing their father as a superhero. Abhilash wonders how far a son would go to save his father, with whom he shares a tumultuous relationship. The plot becomes more complex as it involves a father Srinivas (Sayaji Shinde) and his adopted son Johnny, and later, the biological father also returns. This idea might seem intriguing at the script level, but the film seems uneven and is held together by a few endearing moments.

Nine years after SS Rajamouli’s Baahubali – The Beginning left viewers curious about why Kattappa killed Baahubali, a spate of films have been mounted ambitiously, with scope for sequels. This has turned out to be a double-edged sword. While filmmakers get the scope to present in-depth character delineations and build the world in which the story unfolds, there has also been a tendency to overstretch the narrative. A few questions are left unanswered, with the hope that the audience will wait in anticipation of a sequel.