Nepal, August 13 — Imagine a weak man on his deathbed, yet destiny—or the peculiar customs of his village—refuses to let him pass away. Now envision a “Full House” sign, similar to those outside a busy theater, being nailed to the gates of a cemetery. Absurd? Indeed.
Yet, in this village, death has transformed into a privilege. The availability of land for burial has become so limited that families are now competing fiercely for the six feet of earth they desire for their own use when their time arrives. Although this may sound dark and disturbing, the movie ‘Uppu Kappurambu’ transforms this grim concept into an unexpectedly charming and satirical narrative. The film encourages us to laugh while also prompting reflection. It turns a conflict over burial sites into a story that is both touching and highly engaging.
In this movie, death is approached similarly to real estate, with the film’s comedic and moral core emerging from this single ridiculous concept. In reality, such a scenario would be deeply tragic, but in this film, it turns into a hilariously funny situation.
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At the heart of the movie is Apoorva, portrayed by Keerthy Suresh, an unexpected village leader thrust into power following her father’s death. She is both humorous and vulnerable, and her acting shines through these subtle, genuine moments. In the initial scenes, when speaking to a group, she clearly feels out of her element. She pauses before talking, her voice stutters, and she fiddles with the edge of her sari as if attempting to contain her anxiety. She stumbles over the first few words, makes uncomfortable eye contact. These small actions make her believable. They indicate that she is inexperienced in this position and that bravery for her is something she develops in front of others. Her performance gives the film its foundation because she demonstrates how someone can be both uncertain and courageous simultaneously.
In the movie, age-old traditions dictate burial customs, and the idea of cremation causes someone to collapse. When Apoorva proposes cremation to address the space problem, the response is extremely shocking. It’s even physical—people pass out. The villagers are rigid copies of oddity, making the discussion about burial space seem absurd.
Suhas Pagolu, who portrays Chinna, the village gravekeeper, appears to embody the village’s past, carrying its weight on his shoulders. He approaches funeral rites with a blend of reverence and personal sorrow, which the script wisely avoids turning into clichéd sentimentality. Notably, he regards the graves as if they were longtime companions. His conversations with the mounds are strangely amusing to observe. Additionally, his bond with his ailing mother serves as the emotional core that stirs feelings.
Sasi’s writing is most humorous when it highlights the difference between what people express and what they truly fear. Debates over heritage and who is worthy of a prominent place in the cemetery are accompanied by secret plans to manipulate the system. There are moments where entire committees gather for extended periods yet achieve nothing. The humor emerges from these human delays. The director doesn’t have to loudly convey the message; instead, he lets the absurdity become evident through intricate details.
The movie has a cozy and stunning visual style. The color scheme features warm earthy tones, such as browns and ochres that evoke the feeling of soil and sunlight, along with touches of green that imply fields and tiny gardens. A gentle fog blankets many scenes, adding a slightly surreal atmosphere to the village and softening the vibrant colors into more subdued hues. The lighting often appears authentic, as if the camera is capturing genuine sunlight following rain or the delicate light of a humid summer morning.
This visual atmosphere goes beyond mere aesthetic appeal. It influences the overall emotional tone of the narrative. The fog and moist ground imply a world that is both delicate and productive, a setting where traditional customs and modern conflicts emerge from the same foundation. The cinematography emphasizes slow, thoughtful movements and composed scenes that encourage viewers to observe and remain engaged with the characters. In essence, the film’s visuals are gentle, immersive, and meticulously crafted, giving the village a sense of authenticity and vitality.
Nevertheless, the movie isn’t consistently well-organized. The opening act occasionally lingers too long on peculiar character traits. Multiple subplots emerge and then remain unresolved. A local drunkard is given a humorous sequence that subsequently disappears. An extended storyline concerning property documents seems like an engaging concept that could have enhanced the satire with more development. The film’s duration becomes slightly lengthy.
The movie titled ‘Uppu Kappurambu’ has an intriguing name. Uppu translates to salt, and Kapurambhu refers to camphor. Both salt and camphor are everyday items. Salt is used for preservation and flavoring, while camphor burns and purifies. The film explores these concepts. Burial as a way to keep a legacy is similar to preservation. Fire, whether implied or avoided, represents the need for purification that society often resists. This contrast serves as the central theme.
In general, if you enjoy a human-centered comedy that occasionally touches on sadness, you are probably going to be both entertained and reflect a bit on what we consider our own after viewing this movie.
Uppu Kappurambu
Director: Ani IV Sasi
Cast: Keerthy Suresh, Suhas Pagolu, Babu Mohan
Length: 2 hours and 16 minutes
Year: 2025
Language: Telugu
