It’s been a week since the release of Upendra’s UI, a film that Upendra not only directed but also starred in. The film has sparked intense discussions and curiosity, with fans and critics alike still trying to decode its meaning and interpret the focus Upendra spoke about. However, Upendra has kept the film’s true essence shrouded in mystery, offering only one hint: "People always ask me, 'Do you plant worms in people’s heads?' But in this film, I’m the one removing the worms."
During a media interaction on Saturday, Upendra offered profound insights into UI, transcending mere cinematic analysis. He delved into his personal philosophies and reflections on life, revealing the film as a vehicle for deeper introspection. Discussing the climax, Upendra explained, "I deliberately deconstruct the narrative. It's not about a neatly tied-up conclusion, but about planting a seed of awareness within the viewer." He aims to awaken the inherent power within each individual, a facet often overlooked by society.
"If I live my life authentically, according to my own desires, nothing else truly matters," he declared, articulating the film's core message. The clock displayed at the end isn't intended to dictate a specific meaning but rather to encourage viewers towards self-realisation, allowing them to discover their own truths.
Upendra further emphasises the importance of internal happiness and self-discovery: "The attempt to convey this message is mine, but the realisation lies within you." He asserts that true happiness stems from within, not from external validation or the pursuit of superiority. "We've been conditioned to believe that happiness lies in surpassing others, but do those at the pinnacle truly find fulfillment? No. True happiness resides within, in the serenity of one's mind." He urges viewers to explore their own unique sources of joy, whether through dance, painting, or any other pursuit, without succumbing to societal pressures and predefined notions of success.
On the relevance of ancient epics like the Ramayana and Mahabharata, Upendra said, “These ancient tales are universal truths.” He highlights the timeless nature of these stories, noting their continuing influence on modern filmmakers. “Rama is often seen as the soul; that’s why he’s called ‘Atma-Rama.’” The core conflict between strength and soul, mind and body, remains central to storytelling, connecting even today.
Upendra clarifies that his film isn't meant to convey social or political messages but personal insights: “It’s not about searching for work; it’s about doing it.” He encourages aspiring creators to start now, saying, “You don’t need to wait. You already have a phone, a camera, editing tools, and music. Start creating today.” His message is clear: dreams should begin in the present, requiring only a shift in mindset.
Addressing comparisons to his past films, Upendra explained, “Every story has its own flow. If something worked in one film, it won’t necessarily work in the next.” He avoids formulas, preferring that the film and its dialogues evolve naturally. “I didn’t plan anything; everything in the film flowed organically,” he added.
He is also impressed by how the audience has interpreted the film: “The film is being interpreted uniquely by each person.” There’s no unanimous opinion, as each viewer brings their own understanding to the social, mental, and spiritual themes explored in the film.
Finally, when asked about the villain, Upendra reflects, “The villain is the system. And that system is you and me. So, in this film, the villain is me.” He challenges traditional notions of good and evil, explaining that the real antagonist lies within the structures we live by.