Women -led films should not always be about a woman who is being betrayed by all the people around her, only later as someone who rides a bike in the Himalayas. A female -enemable film can also be about learning and analing – to find out that her cocoons presents the world opportunities beyond. How to use this vast world of opportunities depends on each person. But the important underlying message is that they have an option. An alternative that allows them to spread their wings and fly, or simply feel the freedom of having an option. There is everything about director Praveen Kandrigula’s ‘Pardara’.

Subbu (Anupama Parameshwaran) belongs to a fictional village named Padathi, where women, who have killed puberty, have to wear veil until they die. This superstitious belief is told to the villagers as the story of the deity, the story of Jwalamma and the curse. If Pardhara (veil) is closed, inadvertently or inadvertently, the woman has to face death. Catch! A ritual after death.

A strong wind blows the curtain of segus. At that time, she is surprised, but hurry quickly and wears it before seeing someone. Nevertheless, this minor struggle soon follows him, threatening his possible marriage and his life. However, Subbu receives the duration of grace – due to the re -winds – gives him time to prove his innocence. Will Subbu prove his innocence and will avoid death? What happened to her lover? All these questions and more are answered during the film’s runtime of about two and a half hours.

Director Praveen Kandregu’s ‘Pardara’, which he co-written with Pujita Srikanti and Pras Bopuri, attracts your attention with the frame long ago. We are taken to the world of post, where women are proud to wear colorful and designers, clothes that ban them in more than one way. Women are afraid of life for life on a flashy piece of clothes. Their life is tied to parason, cloth, which they wear for safety, as Subbu’s mother tells her. But is it really?

Labbu learns it in a difficult way when the village collectively fails it. They refuse to believe his legitimate reasons. Sabbu is not just a woman of a naive village, she also has the silent flexibility that does not allow her to apologize for a mistake she did not do. And when the story meets her two women, Ratna (Sangeetha Krish) and Amishta aka Ami (Dhirana Rajendran), Sabbu, ignorance of customs that clip her wings, ignoring the years of conditioning to see the world without the veil of Pattichic.

While Rathna is a housewife with a very-dependent husband and children, Ami is a ‘Vok’ feminist working as a civil engineer in a male-dominated industry. The chariot craves for a break from its care that takes care. On the other hand, AMI waits for that very important promotion at work. She is also a person who thinks that a strong woman does not like to love her husband, shop, and like makeup. A conversation with a female officer understood her how women inadvertently judge another woman to live their lives.

Subbu, Rathna, and Amy are on a trip to Atma-Khz, and the strong sister-in-law helps them understand their boundaries. And in each other’s company, they find freedom. There is always something about women’s friendship that gives each other a place for each other’s uplift, lending ear for their struggles. For example, the scene where the seller breaks down, asking what he did wrong to face such a punishment. Ami cries with her, but also asks her to question the superstitions that she is fed. Rathna re -joined his memory and rationally asked him how a village god, who is a warrior, can box all the women of the village. Without a molestation against men, the film honestly presents a story that assures women that there is a world beyond stories that do not favor women or their freedom.

There are many moments in ‘Para’ that challenge your understanding of women and highlights the decisions made in the name of empowerment. He said, with a total runtime of about 2 hours and 20 minutes, the film can release some sequences – especially those who – to be more effective during the dharamashala parts.

Anupama Parameshwaran, Ratna, and Amy represent women from three different stages and upbringing. How they remain chained for their beliefs prove that we (women) still have a long way to go, and development is never permanent. Anupama, in the form of soobbu, brings his best in a role that captures tests and tribulations through him. Darshan as Amy, Rajendran represents a city-verse woman who wears her feelings on her sleeve. Music, as a chariot, represents our mothers, who are primary care at home. The scene where she gives it back to her husband and a funny phone call with her proves her skills.

In the world of ‘Para’, it is a man, it is the father of the man, or his lover Rajesh (an effective raga, Mayur), or the husband of Rathna, shows the characters who provoke their ancient practices on women of their homes.

‘Para’ is a non-achieved film that asks women to look beyond their boundaries and feel the air on their face.