Sara movie review: It takes more than a mild nudge to dislodge notions that have been set in stone. Sara‘s is an attempt by filmmaker Jude Anthany Joseph and author Akshay Hareesh to shake one such concept that has become accepted as normal in society and, by implication, popular filmmaking, from its roots.
Sara (Anna Ben), a film industry assistant director, aspires to produce her own film. She meets Jeevan (Sunny Wayne), who is taking a vacation from the stressful life in the IT business, while working on the script for her dream debut.
They fall in love, with Sara drawn to him in particular because he shares her desire to stay childless. However, as time goes on, societal forces begin to exert an influence on them.
Jude Anthany Joseph returns to a woman-centered topic in his third picture, but the similarities with the previous two films end there, with the exception of Sara’s father-daughter connection, which is identical to that of Ohm Shanthi Oshana.
He also keeps the mild treatment he offered for weighty themes in this case. It works at times, but it leaves us longing for something more substantial at other times.
The fact that the writing never deviates from the core theme, which focuses around Sara’s choice and great desire to become a filmmaker, merits praise.
The storey strikes a delicate balance between the two, as the cultural constraints on her decision have an impact on her ambition as well.
It also depicts her attempts to get producers to invest in her script, which, according to her, lacks the components needed in a major picture. In the case of Jude’s film, the commendable progressive stance it takes does not always compensate for the simple, sloppy production in some areas.
The remainder of the characters, with the exception of Sara’s, look fuzzy and locked in a single tone. Some of the characters’ transformations appear to be rapid and easy. Sara, like the protagonist here, will not have it easy in the real world.
Nonetheless, this is a courageous reversal of years of glorifying of motherhood and looking down on individuals who choose to follow their own path. It’s a study in contrast to films like Salman Khan’s Sultan, which featured a woman wrestler pursuing Olympic gold who gave up her ambition after becoming pregnant, with the screenplay praising it.
Anna Ben’s confident performance goes a long way toward supporting the picture, even when it falters owing to poor scripting. Sara’s is a respectable attempt at course correction on some strongly ingrained cultural standards, despite the flaws.