Srikant Addala’s characters are all carnivalesque and easygoing, making you feel that you chanced upon them some place. Be it Seetamma Vakitlo Sirimalle Chettu or Mukunda, the white collar class stories woke up as glossies just not due to a major star cast but rather because of his unmistakable tasteful sensibility. The dialect is semi-urban and when there is no exchange, it is the visual vocabulary that advances the story. In his stories, the fundamental plot is never perplexing yet the enthusiastic twirling tosses light on blurring states of mind and connections.
Indeed on the off chance that you observe nearly, there will be no story at all and his movies have substantial leanings on Rajashri and Karan Johar ventures that have a skillet Indian interest. With regards to territories.one must note the group of onlookers is changed. Addala must question himself how significant such plots are to the present era.