Kishkindhapuri Review: A Fantastic Audio-Visual Experience!

September 26, 2025October 4, 2025 Surya Komal 0 Comments Anupama Parameswaran, Bellamkonda Sai Sreenivas, Kishkindhapuri, Koushik Pegallapati, Telugu, Telugu Movies, Tollywood, Tollywood Movie Reviews, Tollywood Movies

Written and directed by Koushik Pegallapati, Kishkindhapuri unfolds within the eerie walls of an abandoned radio station. The story begins when a group of visitors, eager to indulge in the thrills of a ghost tour, step into the forgotten premises. What starts as harmless curiosity quickly descends into terror as they disturb a dormant spirit. Now, with supernatural forces closing in, the group must uncover the mystery surrounding the spirit and find a way out before it consumes them completely. At the heart of the film are Mythili, played by Anupama Parameswaran, and Raghav by Bellamkonda Sai Sreenivas, whose journey through survival becomes central to the film.

One of the film’s strongest achievements lies in how it establishes itself as a complete audio-visual theatrical experience. From the very first frame, it’s evident that Kishkindhapuri is crafted with the big screen in mind. The deep, reverberating soundscape, enhanced by Dolby surround technology, immediately immersed me in a world of dread. A huge share of credit goes to M. R. Rajakrishnan, the sound designer, whose work forms the backbone of the film. The layered design—from subtle creaks and whispers to bone-chilling crescendos—ensures that every scare lands with intensity. Horror thrives on ambience, and the sound design excelled on that regard.

Complementing this is the outstanding work of cinematographer Chinmay Salaskar, who delivers visuals that elevate the film beyond standard horror. While the VFX team and production design deserve recognition for creating a convincing supernatural environment, it’s Salaskar’s lensing that brings it all together. The interplay of shadows, and color palettes shape the ambience of every scene, amplifying the unease. Moreover, it becomes clear that director Koushik Pegallapati is an aesthetic-heavy filmmaker. From the choice of cars and props to the careful balance of hues across backdrops, every detail appears meticulous. His insistence on creating a distinctive visual tone without compromise gives Kishkindhapuri its unique identity.

When it comes to the horror itself, I appreciate that Koushik chose to rely on practical ghost-scare tactics rather than overly polished CGI specters. Personally, I’ve always felt that digital ghosts dilute the impact of the genre, and too often they pull the audience out of the moment. Here, however, the scares feel grounded and authentic. The film delivers genuine tension, especially during the setup and payoff of the first two kill scenes, which are executed with precision. Now, to be honest, I didn’t find myself particularly frightened—after years of consuming horror, I’ve grown somewhat numb to jump scares and ghosts. But credit where it’s due: the attempt was solid.

As for the writing, this is where I feel a bit torn. On one hand, the pacing works in the film’s favor. At 2h 5m, it moves quickly, keeping the narrative lean without unnecessary detours. Surprisingly, I even enjoyed the touches of comedy in the first half, which I know won’t sit well with everyone. On the other hand, the inclusion of a duet song and some fight sequences did feel unnecessary and could easily have been trimmed. The climax, too, was somewhat underwhelming—convenient rather than earned. Another drawback was the inconsistency in the ghost’s powers. At times, it seemed like the spirit could do virtually anything, yet chose not to. A clearer set of rules and limitations would have strengthened the tension and made the story more cohesive.

The performances overall were decent. Anupama Parameswaran, in particular, stood out with a strong portrayal of Mythili, bringing depth and conviction to her role. She especially excelled in the hospital scene, which showcased her acting prowess. Bellamkonda Sai Sreenivas delivered a mixed performance; his natural flair shines through in playful banter and rage-driven moments, but he falters when it comes to heavier dramatic scenes. One of the strongest performances in the second half comes from the antagonist, whose presence adds significant weight to the narrative. Without giving away spoilers, I can say his character was one of the film’s standout positives.

There’s also an intriguing setup for a sequel, rooted in the backstory of the antagonist. The lore hinted at here carries enough drama and intrigue to warrant further exploration. Before wrapping up, I must highlight Chaitan Bharadwaj’s impressive background score, which works hand-in-hand with the sound design to amplify tension and atmosphere. And credit again to Koushik for creating a world that feels unique and imaginative. The setting operates in a strange blend of eras—smoke-releasing trains and vintage cars from the 80s exist alongside smartphones from the 2020s. Logically, it may not make sense, but aesthetically, it gives the film a distinctive personality.

Overall, Kishkindhapuri is a film that thrives on its audio-visual strengths, bolstered by immersive sound design, striking cinematography, and a directorial vision. While its narrative and character writing stumble in places—particularly in the climax and the inconsistent ghost mythology—the film still manages to stand out as an engaging experience strictly at the theaters and not on streaming.