<p class="bodytext">The film’s title 'Kamal Sridevi' may sound melancholic and romantic because of the nostalgia associated with it, but the film is nowhere near that.</p>.<p class="bodytext">'Kamal Sridevi' begins with the murder of a sex worker named Devika (Sangeetha Bhat). Her body is found in an old, shady lodge in Bengaluru’s Majestic area. The film follows the murder investigation as Devika’s many clients and a pimp recall the events that led to her death. What could have been a taut suspense thriller, in the 'Rashomon' style, ends up being a textbook case of how not to make a film.</p>.<p class="bodytext">It is filled with double entendres, crass jokes, and poorly composed scenes. Weak direction brings out unconvincing performances from the actors. It is also apparent that the filmmakers have not done enough research into the lives of sex workers, including how someone might unwillingly enter this line of work. The characters come across as caricatures — whether it is Sangeetha’s Devika, Sachin Cheluvarayaswamy’s Kamal, Ramesh Indira’s pimp, or Kishore’s cop. Kishore once again plays a cop, and the clichés surrounding his role reveal how poorly have the film's characters been written.</p>.<p class="bodytext">The film attempts to appear aesthetic, but the visuals do little to enhance the narrative. The props in the lodge, for example, remain mere decoration, detached from the pain, sorrow, and the fleeting pleasures of the women who have been in the room. Moreover, moments meant to shock or horrify feel hollow and devoid of emotion. Most importantly, the film’s pinch points don't arrive on time, making it a tiresome watch.</p>
<p class="bodytext">The film’s title 'Kamal Sridevi' may sound melancholic and romantic because of the nostalgia associated with it, but the film is nowhere near that.</p>.<p class="bodytext">'Kamal Sridevi' begins with the murder of a sex worker named Devika (Sangeetha Bhat). Her body is found in an old, shady lodge in Bengaluru’s Majestic area. The film follows the murder investigation as Devika’s many clients and a pimp recall the events that led to her death. What could have been a taut suspense thriller, in the 'Rashomon' style, ends up being a textbook case of how not to make a film.</p>.<p class="bodytext">It is filled with double entendres, crass jokes, and poorly composed scenes. Weak direction brings out unconvincing performances from the actors. It is also apparent that the filmmakers have not done enough research into the lives of sex workers, including how someone might unwillingly enter this line of work. The characters come across as caricatures — whether it is Sangeetha’s Devika, Sachin Cheluvarayaswamy’s Kamal, Ramesh Indira’s pimp, or Kishore’s cop. Kishore once again plays a cop, and the clichés surrounding his role reveal how poorly have the film's characters been written.</p>.<p class="bodytext">The film attempts to appear aesthetic, but the visuals do little to enhance the narrative. The props in the lodge, for example, remain mere decoration, detached from the pain, sorrow, and the fleeting pleasures of the women who have been in the room. Moreover, moments meant to shock or horrify feel hollow and devoid of emotion. Most importantly, the film’s pinch points don't arrive on time, making it a tiresome watch.</p>