In the aftermath of the pandemic, the landscape of the film industry has undergone a notable transformation, particularly in terms of audience reception at the box office. Directors and genres that once guaranteed success now find themselves grappling with irrelevance in this new era.
Take Rajkumar Hirani, for instance – a director synonymous with both commercial success and films that etched themselves into pop culture. However, his latest offering, Dunki, has left much to be desired. While the film is holding its ground at the box office, it pales in comparison to the standards set by his previous works.
Criticism abounds, with many asserting that Hirani’s direction, execution, and choice of subjects have become outmoded for contemporary audiences. The kind of soft content he is known for seems to find a more receptive audience on OTT platforms rather than in theaters.
Similarly, Trivikram, a director celebrated for his screenplay and dialogue prowess, kinda faces a similar situation. Renowned for crafting relatable and emotionally resonant narratives, he now confronts the challenge of whether his cinematic style aligns with the evolving tastes of audiences post-pandemic.
Trivikram has handled action extremely well in his past movies but they are not like the brutal ones ones we saw in Leos, Salaars, and Animals which the audience is loving these days. So the question arises: Is the audience still open to embracing the distinct Trivikram brand of cinema? The answer, it seems, will unfold in the coming days.
Guntur Kaaram is Trivikram’s first film in the post-pandemic world. Unlike his contemporaries, he has dedicated himself to pure Telugu cinema and hasn’t yet ventured into the pan-India space. The fate of Guntur Kaaram will decide if Trivikram is still relevant for the audience in the post-pandemic world or not. It will also carve a path for his future projects from here on.
