Sunil Kumar V A’s Kamal Sridevi begins with a promise—a mysterious murder in Bengaluru’s buzzing markets, a woman named Devika found dead, and a trail of secrets waiting to be uncovered. Soon, we learn Devika is actually Sridevi living under an assumed identity, and her death sparks an investigation told through shifting perspectives. The idea is intriguing, but the execution wavers. Prolonged flashbacks and an overstretched runtime soften the impact of what could have been a razor-sharp thriller.
At its core is Kamal, played by Sachin Cheluvarayaswamy. Once a filmmaker but now drifting aimlessly, Kamal meets Devika while searching for companionship. What begins as a casual connection soon exposes her struggle for survival, leading her into sex work. Kamal’s inability to intervene becomes his defining flaw, painting him as both sympathetic and frustrating. Sachin brings conviction to the role, especially in delivering fiery dialogues, though the character’s journey feels bogged down by loose writing.
Sangeetha Bhat as Sridevi/Devika delivers the film’s most affecting performance. She embodies quiet resilience and vulnerability, portraying the burden of a woman forced to reinvent herself for survival. Scenes of her endlessly waiting for clients may feel repetitive, but Sangeetha’s subtle body language keeps them alive. Unfortunately, the reveal of her backstory and urgent need for money comes too late, testing audience patience before it finally strikes with emotional heft.
The supporting cast adds colour, though with mixed results. Kishore lends gravitas as IPS officer Rajesh, while Raghu Shivamogga’s inspector Sharanappa fades into the background. Ramesh Indira, as a pimp, injects comic energy that sometimes clashes with the sombre mood. Meanwhile, Akshitha Bopaiah leaves a mark in a smaller role as Devika’s client, sensitively portraying queer experiences rarely depicted onscreen.
On the technical front, the film is inconsistent. The score heightens the mood, but the songs themselves are unmemorable. More damaging is the pacing—the film leans too heavily on flashbacks, stretching to 122 minutes when it could have been tighter and far more gripping with at least 20 minutes shaved off.
Even so, Kamal Sridevi does manage to hold attention in bursts. The shifting viewpoints maintain curiosity, and the finale nudges audiences to reflect on morality, helplessness, and society’s coldness toward those living on the margins. Performances—particularly from Sangeetha and Kishore—keep the narrative from completely unraveling.
Ultimately, Kamal Sridevi is an ambitious film that dares to explore tragedy through multiple lenses. But indulgent storytelling and lack of narrative sharpness weigh it down. It intrigues in parts, yet struggles to maintain the grip of a truly compelling thriller.
