Upendra’s UI is a film with a challenging and surreal narrative that explores intelligence, identity, and societal norms. The film’s opening cards may seem like an abstract puzzle designed to test the viewer’s mind. It begins with a bold disclaimer, urging the intellectually discerning to leave, while daring those who stay to embrace their own folly. This sets the tone for the film, which defies traditional narrative structure and plunges into a complex world of unsettling truths, inviting viewers to engage in a thought-provoking and challenging experience.
The opening cards feature brain-like structures in vibrant colours, which, while initially seem nonsensical, represent the fragility of the mind. Just like the sweet yet delicate candy floss, the mind can be easily influenced by external forces. The protagonist’s mind is depicted as a playground for manipulation, a theme central to the film’s exploration of freedom.
The film explores the dangers of power, knowledge, and technology, showing how their misuse can lead to destruction. Upendra is seen in three shades: first as a director, through the lens of the reviewer Kiran Adarsh (Murali Sharma), who is pushed by Sunaina (Nidhi Subbaih) to review a film. As he watches, he begins to understand how the audience reacts.
One notable moment occurs when a couple, after watching the film, leaves, and the wife discards her mangal sutra, declaring, “Let’s split... freedom,” symbolising a personal revolution that challenges both her marriage and the illusion of connection. Another moment involving a lesbian relationship challenges societal norms and reflects shifting human connections in the digital age. The director does not spare social media, either. This is when Kiran Adarsh begins to research the script, taking us into the world of UI.
The chaos of the film truly begins when characters Satya and Kalki (both played by Upendra) take center stage, where morality, caste, and religion intertwine, echoing the Kali Yuga—an age dominated by ego, desires, and impending destruction. UI presents a society on the brink of unravelling. Satya, embodying moral righteousness and equality, can be compared to Basavanna, a philosopher and social reformer advocating for equality in the caste system.
Kalki, a mythological figure associated with the end of the current era, represents the conflict between right and wrong. The film also critiques modern advancements like technology and mining mafia, using the metaphor of “rape” to symbolise the violation of Mother Earth (Prakriti), which leads to the birth of Kalki, drawing on ancient prophecies like the Garuda Purana.
Upendra’s storytelling is unique, carrying the entire film’s narrative on his shoulders with impressive performances and production values. Joining him are Ravi Shankar, Sadhu Kokila, and Reeshma Nanaiah, who support his vision. The music and cinematography further support the director’s vision, creating an immersive experience. On the technical front, the cinematography by HC Venu is outstanding, capturing both grandeur and subtlety.
The background score by Ajaneesh Loknath perfectly complements the visuals, enhancing the atmosphere. However, the songs feel somewhat out of place. The costumes, on the other hand, play a crucial role in defining the characters. UI is filled with philosophical themes, questioning good and evil in a contemporary setting. More than just social critique, it celebrates the human spirit’s ability to navigate chaos and find meaning. However, its thematic content may be too much for some.
In one notable moment, Upendra’s script is set on fire, symbolising the destruction of outdated narratives and traditions. The film’s characters mirror the chaotic world they inhabit. The line “foolish world mirroring the foolish mirror itself” sums up the film’s essence—human nature struggles to break free from the societal “mirrors” around them. In the world of UI, fools and the intelligent coexist.
The plot of UI is complex, with numerous twists that make it difficult to explain succinctly. The narrative is layered, and while it touches on religion, caste, and corruption, these themes feel underdeveloped and lack the depth they deserve. The film’s narrative structure is unique, embedding another film within the main story.
This technique, reminiscent of Upendra’s earlier works like Shhh! and A, adds variety but also contributes to the film’s complexity. It comes across as a big stage play, addressing larger issues, including the wars happening in other countries and various problems around the world. Upendra seizes the opportunity to talk a line about his political ideology, Prajaakeeya
UI is a film that cannot be easily categorised. It is both a social commentary and a philosophical inquiry, a surreal exploration of the human condition. The film’s story asks fundamental questions about freedom, thinking, and love, and though it offers no easy answers, it leaves viewers reflecting on the state of the world. As the film ends, the words “Back to where it was, but why bother, there’s no focus” linger, reminding us that life moves forward, regardless of the chaos.
We must decide where to focus our attention, whether we seek enlightenment, rebellion, or peace. The film suggests that intellectual engagement is key to understanding its meaning. But it’s not just about intellect—it also challenges emotional intelligence, urging viewers to understand both the self and the world. UI demands a balance of both logic and emotion from its audience. With its serious themes, Upendra aims to leave the audience with something to reflect on. We hope that next time, he presents a world seen in a better light, one that leaves a smile on our faces.
UI
Director: Upendra
Cast : Upendra, Reeshma Nanaiah, Ravi Shankar, Sadhu Kokila, Murali Sharma. Medini Kelamane, Nidhi Subaiah, and Achyuth Kumar
Rating : 3/5