Director Tharun Bhascker is currently juggling multiple commitments, shooting the sequel to his 2018 buddy comedy Ee Nagaraniki Emaindi(ENE). Aware of the expectations riding on the film, he is nevertheless keen to see how audiences respond to a different turn — a grey character in director A.R. Sajeev’s Om Shanti Shanti Shantihi(OSSS), which releases on January 30.
Fresh from a day’s shoot on ENE 2, Tharun sits down to talk about his latest outing as an actor. Directed by A.R. Sajeev, OSSS is a remake of Vipin Das’ 2022 Malayalam film Jaya Jaya Jaya Hey.
At a time when remakes are often seen as risky, with originals readily available on streaming platforms, the question of why he took it on is inevitable. “This is a role many male actors would hesitate to accept because of its negative arc. The woman is clearly the protagonist,” he says. Eesha Rebba reprises the role played by Darshana Rajendran in the original. “Basil Joseph did a remarkable job in the Malayalam film, and the character stayed with me for a long time.”
So far, Tharun has largely been seen in breezy, happy-go-lucky roles. Even in his directorial venture Keedaa Cola, where he played a don, the tone remained playful. “I did not want to get stereotyped,” he says. “OSSS gave me the chance to break away and explore a darker, more uncomfortable space.”
Tharun Bhascker and Eesha Rebba in the film
| Photo Credit:
Special Arrangement
Remakes and interpretations
He is aware of the risks remakes carry in the age of OTT. However, Tharun says the producers are confident, having done their homework, that the film will connect with audiences in tier-2 towns across the Telugu States, where access to multiple streaming platforms is still limited.
The story of Jaya Jaya Jaya Hey and its examination of gender dynamics is universal. The Great Indian Kitchen is an example — despite its wide digital reach, the Malayalam film was remade in Tamil and Hindi, sparking fresh debate. JJJH is similar. The story is relevant across the country. In OSSS, the narrative is rooted in the Godavari belt.
On the importance of localisation, Tharun adds, “The Ramayana and Mahabharata have been retold across regions with local cultural nuances — Thailand and Indonesia have their own interpretations. Stories travel. Tamil Filmmakers today are repackaging themes explored decades ago by stalwarts like K. Balachander, but with a contemporary voice for a new generation.”
Beyond cultural grounding, Tharun notes that OSSS introduces changes in plot and structure, with an ending that could spark debate. “I had several discussions with Sajeev and eventually chose to go with his vision,” he says.
He is hopeful that word-of-mouth publicity will work in the film’s favour. “Audiences no longer respond to aggressive promotions. Conversations matter more. When people hear a film is good, they are willing to make the effort to watch it in theatres. We saw that with several films in 2025,” he observes.
Acknowledging that compact-budget films often swing between success and failure, he adds, “A remake is always a gamble. But strong content builds momentum. That’s why we are consciously not over-promoting OSSS.”
Breaking the three-act structure
Tharun Bhascker
| Photo Credit:
Special Arrangement
It has been over a year since Tharun’s last directorial outing, Keedaa Cola. Looking back, he says, “I have always tried to experiment, and thankfully none of my films have failed at the box office. They have all made money. But Keedaa… remains my favourite. I broke away from the three-act structure, did not offer a single protagonist for the audience to empathise with, and strayed from textbook screenplay models like those of Syd Field or Robert McKee. My inner critic enjoyed the film, though I am not sure I would attempt something like that again. I may return to making films that feel different within a familiar structure.”
While a section of the audience embraced Keedaa Cola, others felt it did not quite measure up to Pelli Choopulu or Ee Nagaraniki Emaindi. “Crime comedies like Soodhu Kavvum (Tamil) or Lock, Stock and Two Smoking Barrels did not perform spectacularly on release compared to romcoms or mainstream films, but they aged well. I believe Keedaa… will be appreciated even more over time,” he says.
Ee Nagaraniki Emaindi followed a similar trajectory, gradually acquiring cult status and drawing packed halls during its 2023 re-release. Tharun admits that ENE 2 comes with its own set of pressures. “Many directors have tried to build on cult films and failed, which is why I never wanted to make a sequel,” he says.
Pointing to how the film’s dialogues have slipped into everyday slang, he adds, “People are deeply invested in these characters. If something goes wrong, they would hate me for it. I never wanted to cash in on its popularity unless there was a strong theme or story I truly wanted to explore. Otherwise, what’s the point?”
The sequel game
After several years, Tharun says he experienced a coming-of-age moment of his own, which prompted him to explore how the friends from Ee Nagaraniki Emaindi might have evolved over time.
Recently, social media was abuzz after actor Sushant Reddy announced his decision to step away from the sequel for personal reasons. He has since been replaced by Srinath Maganti. Tharun confirms that the rest of the cast and characters from the original film remain unchanged. “Within the first few minutes, I want the audience to forget everything else and simply invest in the journey of these familiar characters,” he says. “As I shoot and review the footage, I feel the vibe is very much intact.” ENE 2 is expected to release later this year.
Meanwhile, Tharun has a few acting projects lined up for release, including one with Pavan Sadineni as creative producer, directed by debutant Kashyap, and another produced by Jagan Mohan Reddy and directed by first-timer Badri.
Published – January 27, 2026 03:10 pm IST
