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Sandalwood'Happy New Year' to 'Chamak', these films will leave you feeling warmSanjana DeshpandeYouTube ScreengrabsAmid the pandemic and consequent gloom, the year has been difficult, to say the least. Despite the lockdown restrictions easing up, there’s reservation among people about the “new normal”. Several people have turned to Over-the-Top (Ott) platforms for entertainment to take their minds off their concerns. If you're new to Kannada cinema and are looking for films to watch, here’s a list of chicken-soup-for-the-soul-warm films you can catch up with this weekend to unwind. Happy New Year (Zee5) A screengrab from Happy New Year The Pannaga Bharana directorial is an anthological film revolving around stories of people from different walks of life interwoven -- they are all looking for meaning in their lives. Everything changes for them on the New Year’s. The film features an ensemble cast consisting of Saikumar, Rajshri Ponnappa,...

SandalwoodA heist thriller directed by Sunil Kumar Desai, ‘Nishkarsha’ starred Vishnuvardhan, Anant Nag and BC Patil in the lead roles.Digital NativeReleasing digitised versions of yesteryear classics has turned out to be a big hit in the past. In order to cash in on the trend, plans are on to release the digitised version of the 1993 Vishnuvardhan starrer Nishkarsha. The technical work pertaining to the digitised version has been completed and the film is scheduled to hit the marquee on September 20 to coincide with the legendary actor’s birth anniversary. A heist thriller directed by Sunil Kumar Desai, Nishkarsha starred Vishnuvardhan, Anant Nag and BC Patil in the lead roles. The story is about a bank robbery where terrorists become trapped with the hostages. The film had Vishnuvardhan playing anti-terrorist commando Ajay Kumar, Ananth Nag as Police Commissioner Subhash Chandra, BC Patil as Devraj, Suman Nagarkar as bank employee Suman,...

Flix FlashbackThe film is about how a powerful man's son runs over pavement dwellers and their driver is expected to take the rap for the accident.Basav BiradarPicture this: As soon as the initial titles are over, we cut to the view from the dashboard of a vehicle. A watchman opens the gate, and the car turns into a lane as music – a track seemingly inspired by Bee Gees’ Stayin’ Alive - starts playing. The car drives through the residential areas and main roads of ‘80s Bengaluru until it reaches a busy market. The man at the wheel switches off the music and gestures his friend on the passenger seat to get on with it. The car is a white Buick convertible. The friend gets down, walks up to a shop where he meets a man in all whites standing and smoking. He hands the man money in exchange for...

Sandalwood'Krishna Tulasi' manages to do better than many previous films with disabled protagonists.Rakesh MeharScreenshot/YouTubeStories about persons with disability are generally a troubling prospect in Sandalwood. More often than not, audiences are served up a tale dripping with pity and condescension, as the disabled protagonists work simply as a mirror for the faults of the able-bodied characters around them. Thankfully, while Krishna Tulasi can’t entirely escape from the trope of disabled persons with hearts of gold, it manages to do better than many previous films with disabled protagonists. The film tells a love story that slowly blossoms between Krishna (Sanchari Vijay) and Tulasi (Meghashree). While Krishna is a tour guide who has recently moved from his hometown in Madikeri to Mysuru (much to his mother’s disappointment and concern), Tulasi is a voice artist in a dubbing studio. As they meet repeatedly on the same bus, conversations turn into friendship, which is poised to blossom into love. But a sudden revelation leads Krishna to a questionable decision regarding the relationship, and it seems like this love story may end before either person confesses their love. There are more than a few interesting elements in this film. For one, in an effort to treat its blind characters respectfully, writer and director Sukesh Nayak spends a lot of time focusing on their daily routines and the way they live their lives. The picture the film tries to paint is of dignified, self-sufficient individuals who have made the best of their circumstances, and largely succeeds. For another, it also fleshes out its protagonists, giving us a sense of their work, their various relationships, and their hopes and desires. And it keeps the eternally wise, innocent and genial personae of disabled persons to a minimum, which many previous films have struggled to do. The visual journey is also quite pleasing, with the film bathing Mysuru in a mellow warmth. The music is similarly quite likely to stay with one long after the end credits roll by. On the acting front, Sanchari Vijay pulls off a strong performance, capturing the texture of a variety of emotions. Meghashree struggles with overplaying her character at times, but is largely likeable. The rest of the cast including Ramesh Bhat, Tabla Nani, Kuri Prathap and Padmaja Rao, deliver an earnest set of performances too. The film, however, isn’t entirely able to escape from the heart of gold syndrome, and conceive of disabled characters who might be selfish or self-centric. So it never manages to move far enough from overdone tropes in Kannada cinema, particularly in the somewhat disappointing climax. It could also have done with a tighter edit, as it drags in parts and takes too long to get to its central dramatic conflict. Still, Krishna Tulasi is worth a watch for anyone who’s tired of formulaic mass entertainers and is looking for a genial, if a tad too sentimental, tale. Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither Tnm nor any of its reviewers have any sort of business relationship with the film's producers or any other members of its cast and crew.