Kuberaa

Excellent film by shekar kammula! Dhanush's acting is magnificent!!!! Great story, no lag, attention grasping story. No boring scenes.... Reality of India! Those who lost hope in ur life, watch this movie. An excellent acting of all the actors. I bet no big actor in tollywood can do dhanush's character in this movie. His passion towards acting is just amazing! Dhanush's acting vere level. No commercial overactions. Shekar kammila is known for good classic movies but this time after this action teaser we doubted shekar's new style of story and direction but he didn't fail to make us love him as always. Great movie!

With Kubera, Indian cinema offers a striking meditation on the corrupting power of wealth, told through the intimate, unsettling journey of a man thrust from the margins of society into its golden center. Far from the tropes of rags-to-riches storytelling, this film approaches economic mobility not as a triumph, but as a crisis existential, moral, and spiritual.

Directed with remarkable clarity and restraint, Kubera follows the trajectory of a beggar whose sudden rise into affluence acts as a catalyst for an internal unravelling. The narrative arc resists melodrama and embraces a more psychological realism, examining how social class, trauma, and ambition intersect.

Dhanush's performance is a central pillar of the film's success. It is not performative in the traditional sense, but inhabited almost lived. His ability to modulate between the vulnerability of the dispossessed and the performative confidence of the newly powerful is subtle and deeply affecting. He embodies the contradictions at the heart of the film: pride and shame, desire and guilt, survival and self-destruction.

The film's screenplay is economical and deliberate. There is little exposition; meaning is built through gesture, image, and silence. Dialogue is sparse, leaving space for the audience to interpret rather than consume. In this way, Kubera aligns itself with a more contemplative tradition of filmmaking recalling, at times, the moral ambiguity of European neorealism or the social critique of Indian parallel cinema.

Visually, the film employs a carefully constructed aesthetic. The contrast between the chaotic, dusty realism of the protagonist's early life and the cold, glossy sterility of his later environment is not just symbolic it is diagnostic. The cinematography does not romanticize poverty nor glamorize wealth; instead, it reveals both as psychological spaces as much as material ones. The lighting, in particular, evolves with the character's inner world: dim and earthy in the early scenes, then increasingly sharp, distant, and artificial as he ascends.

The score is equally considered. It refrains from overemphasis, choosing instead to serve the internal rhythm of the film. Moments of tension are often underlined not with music, but with silence, forcing the viewer to sit with discomfort rather than be guided through it emotionally.

What distinguishes Kubera from many of its contemporaries is its refusal to resolve itself through easy catharsis. There is no simplistic moral takeaway, no forced redemption. Instead, the film concludes in a space of ethical ambiguity, leaving the viewer with a set of unresolved tensions. This ambiguity is not a flaw, but a strength. It affirms the film's seriousness as a work of art its desire not to entertain, but to provoke thought.

In the context of Dhanush's broader filmography, Kubera represents a significant contribution. Known for his versatility and commitment to challenging roles, Dhanush here participates in a project that aims for something more than mainstream appeal. It is a film with thematic ambition, stylistic discipline, and political resonance.

Kubera invites reflection not only on individual choices but on the structures that shape them. In doing so, it asserts cinema's enduring role as a mirror not just to society's surface, but to its deepest ethical and psychological fractures.

The film feels fresh and good overall, but it still carries some cliché baggage-especially when it comes to the villains. The hero's character, though, is rare and really interesting. The first half is very good and the second half graph goes down.

It's a long ride-some scenes are fantastic, some drag like a Monday morning, and the rest are just... there. Dialogues feel pretty generic, nothing that sticks.

Dhanush absolutely nails it-can't imagine anyone else in that role. Nagarjuna looks cool and plays a refreshing part; he does a decent job. Rashmika's role is limited but interesting, though some other actress might've added more punch.

Music fits well, cinematography looks great, and the production design is top-class-very natural and detailed. Direction is good too. Shekhar Kammula experiments a bit but still sticks to his usual flavor.

It's a good film-not a must-watch classic, but definitely not a flop either. Had the potential to be great, but missed the mark by a bit. Whether to catch it in theatres, wait for OTT, or skip it-totally your call.

This film was the first Dhanush film I saw in the theater. While there aren't many things in the film that excite us, there are some things that make us think. As for the verses of the fruit, it didn't hold my attention to a great extent. Similarly, the film's story didn't stick in my mind that much. The other person's screenplay naturally gave it to me. You know, while watching this movie, there were some good comedy scenes. Overall, even though we couldn't take in too many things when we saw the film in the theater, we did take in a few things to a lesser extent. By choosing such stories, there is a chance that Dhanush will get some good things on one side and some bad things on the other.