Sahit Mothkhuri and his team craft an emotionally potent narrative set in a remote village in Telangana. From the intricate costumes to the meticulous production design and picturesque locations, the film excels technically, standing tall among recent rural dramas. However, the fatal flaw lies in the screenplay. This is exactly the kind of film that highlights the distinction between a story and a screenplay. A great story narrated in a complicated series of events will always leave little to no impact. The screenplay prematurely leaps into revolutionary themes, rushing towards powerful ideas without giving them the breathing room they deserve. The film wants to be like a great revolutionary poem but doesn’t move naturally to that goal. Instead, it settles for a clumsy weave of good ideas with a patchy pace.
Pottel unfolds in a remote area of Telangana, where literacy is forbidden under the oppressive rule of the Patels (Zamindars). The marginalised lower castes are entirely dependent on the privileged elite for essentials—be it food, water, education, or any chance of progress. Amidst the harsh realities of unexplained deaths and mysterious illnesses plaguing the village, people seek refuge in faith, turning to the sacred Balamma Thalli, the region’s guardian deity. They cling to the belief that sacrificing the revered Pottel (sheep) during the auspicious Pooja will appease the goddess, delivering them from their suffering.
At the heart of the story is Gangadhari (Yuva Chandra), an ostracised shepherd who takes a stand against the Patel’s tyranny. With an eagle-eyed conviction to provide education for his daughter, he embarks on an inspiring journey. His revolt creates a ripple effect, pushing the villagers towards rational awakening and collective consciousness.
There are stories that you hear are made for cinema, and you know that an audio-visual presentation of these will do wonders. Pottel is one such tale of courage, folklore, and a tender heart at the core to tie everything up. The film shines in several aspects: evocative dialogues, captivating performances, and an earthy musical score that deeply resonates. While Ajay’s Sigam (Deity possession) scenes suffer from mismatched dubbing, the rest of the performances feel nothing short of enchanting.
The first half takes its time, cautiously building the premise, feeding the audience with all the necessary context, and setting the stage for a rousing climax. There is also a lovely throwback to the director Sahit Mothkhuri’s previous indie hit, Bandham Regad with a tribute to Ram Gopal Varma’s Shiva (1990). However, as the second half unfolds, the film begins to falter, losing narrative clarity with uneven momentum. The pacing shifts abruptly, with the editing becoming rushed in an attempt to evoke emotional payoff too soon. This sudden haste disrupts the flow, leaving you disoriented, unsure of what exactly you are rooting for.
Take, for example, a critical scene where the village mob debates over bringing the missing sacrificial sheep for the sacred Baalamma ritual. Just then, a young girl begins reading a government-issued health awareness pamphlet, which they couldn’t grasp until then because they are uneducated. Gradually, the group of people soften, realise the folly of their actions and collectively erupt into a song. On paper, this sequence sounds brilliant. It has all the charisma to blow your mind and melt your heart, but on screen, it is hurried, rushing towards resolution with little emotional resonance. Whether this misfire stems from wrong editing choices or a lackluster feedback from suits who wanted a shorter journey is unknown. But the film is fused with such narrative haste, leaving you disappointed.
The cinematography by Monish Bhupathiraju and the production design by Narni Srinivas stand out. Their combined efforts bring an atmospheric depth to the story, granting you an epic scale that feels both authentic and immersive. Shekar Chandra’s music breathes new life into the rural cinema trope. And Yuva Chandra is a phenomenal actor with mastery over language, a remarkably expressive face, and a great sense of being in the moment. His act is a study in lean performance. Instead of rapidly tipping into excess, he chooses to draw the viewer into the emotional core of his character first.
This is one of those films you watch to like, but sadly, it never gives you enough time to truly immerse yourself in it. Instead of evolving naturally, it sprints towards meaning, and in doing so, stumbles over its own ambition. There are more planted highs than necessary situations to drive the story forward. In spite of all this, the film provides a meaty watch and you will appreciate the story they wanted to tell.
Movie: Pottel
Cast: Yuva Chandra, Ananya Nagalla, Ajay, Chandra Sekhar, Noel Sean, Srikanth Iyengar, Thanasvi Chowdary
Director: Sahit Mothkhuri
Rating: 2.5/5