While watching Mirai, I used to be often reminded of actor Teja Sajja’s earlier movie Hanu-Man. That superhero fantasy by director Prasanth Varma, set in a fictional world, drew on devotional texts whereas borrowing acquainted tropes from the style. Its participating characters and emotional depth made audiences root for the underdog hero.
This time, the canvas is wider, with a bigger funds. Cinematographer-director Karthik Gattamneni, who co-wrote Mirai with Manibabu Karanam, crafts a placing visible aesthetic with manufacturing designer Nagender Tangala, artwork director Dasireddy Srinivas, and a talented visible results crew. Yet beneath the spectacle lies a narrative that finds its footing in elements, and that makes all of the distinction.
Indian epics are wealthy with fantasy steeped in devotional fervour — gods, demons, worlds getting ready to darkness, and the triumph of excellent over evil. What issues, nevertheless, is translating such tales into emotionally resonant storytelling for the display screen.
Mirai (Telugu)
Director: Karthik Gattamneni
Cast: Teja Sajja, Manchu Manoj, Ritika Nayak
Runtime: 168 minutes
Storyline: A superhero has to rise to guard the ninth granth, and the world, from being taken over by a darkish drive.
Mirai begins with promise, utilizing animation, to ascertain its world. The story traces again to emperor Ashoka, distraught after the Kalinga warfare. Legend speaks of a secret society guarding 9 granths — books of immense energy — that might destroy the world if seized by evil forces. The clique succeeds till a darkish energy rises, threatening the world’s equilibrium.
On paper, the tale has intrigue: sage Agasthya, a circle of sadhus who know the reality, a mom with visions of destruction, and her son, destined to be the chosen one. Yet as a number of characters seem in disparate settings, Mirai falters for greater than an hour. Much is mentioned concerning the looming risk to the granths, but the urgency is by no means convincingly constructed. The chosen one have to be discovered, instructed of his future, and dispatched on an epic quest, but the narrative skims the floor.
When a number of guardians fall swiftly to the evil drive (Manchu Manoj, wielding a cursed black sword), the affect is oddly indifferent. Aside from Jagapathi Babu’s gravitas because the elder, the remainder hardly really feel like worthy protectors. Vibha (Ritika Nayak), a younger sadhvi, tracks down Veda (Teja Sajja) with implausible ease, stumbling from Varanasi to Kolkata to Hyderabad as if the movie had been racing in direction of its climactic conflict.
Veda lives in a scrapyard modelled on the dystopian Kashi of Kalki 2898 AD. The thrill of superhero movies lies in imaginative world-building — Gotham of Batman, Anjanadri of Hanu-Man, Lokah’s various Bengaluru, and Kashi-Shambala of Kalki. But right here, the “paradise scrapyard” feels extra like a set than a lived-in universe. The interactions between Vibha and Veda are perfunctory: her mind-reading, his banter with pals, and bumbling cops witnessing the supernatural by no means floor the story.
Veda’s Himalayan quest for the paranormal workers, the mirai, unfolds too simply. His assembly with sage Agasthya (Jayaram) and initiation into the workers’s energy are hurried, not underwritten by depth. Only later, when the darkish drive’s backstory and the mom–son arc absolutely emerge, does the movie discover its footing. Teja Sajja, along with his everyman attraction, balances power and vulnerability, excelling in the motion. Manoj has the bodily menace for the antagonist. Shriya Saran is the revelation, embodying the conflicted mom with emotional weight particularly in the later parts.
Scattered via Mirai are flashes of invention — the animatronic hen Sampati from the Ramayana and sage Agasthya’s notion of “spiritual physics” add surprise and spectacle, complemented by Gowra Hari’s music. The climactic conflict delivers visible grandeur, although the journey there feels skinny.
Telugu cinema has lengthy mined mythology with sincerity, crafting layered characters and powerful arcs. Even the current Kalki2898 AD blended the Mahabharata with science fiction inventively. Mirai, although formidable in reframing an Indian superhero saga, struggles to anchor its spectacle in compelling storytelling. The stage is set for a sequel, but it’ll require a extra participating narrative.
