EPIC Movie Review Love, Life and Relationships
Sarkar Rating: 3/5Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Release Date : September 11, 2026
Cast: Anand Deverakonda, Vaishnavi Chaitanya
Story, Screenplay & Direction: Aditya Haasan
Music: Hesham Abdul Wahab
DOP: Azeem Mohammad
Editor: Navin Nooli
Producers: Suryadevara Naga Vamsi & Sai Soujanya
Presented By: Srikara Studios
Production Companies: Sithara Entertainments, Fortune Four Cinema
What Is the Film About?
EPIC – FIRST SEMESTER follows two young students pursuing their studies in the UK. What begins as a casual relationship gradually turns into a live-in arrangement, eventually leading to emotional complications between them.
The film revolves around their relationship, the challenges they encounter along the way, and the decision they ultimately make about their future.
Performances
Anand Deverakonda plays a naive, timid, nervous and often clueless youngster. At first, his restrained performance may seem slightly underwhelming, but as the character takes shape, his body language and mannerisms begin to fit the role.
He effectively portrays a confused and vulnerable young man who is unsure about his emotions and decisions. While the character itself is not particularly strong, Anand gives a reasonably convincing performance within the limitations of the writing.
Vaishnavi Chaitanya has comparatively limited scope. Her character is fairly routine, and there are not enough emotional layers for her to explore. She does what the role demands but does not get many opportunities to leave a lasting impression.
Analysis
EPIC – FIRST SEMESTER is directed by Aditya Haasan, who previously earned appreciation for creating the nostalgic and feel-good web series 90’s. The film initially appears to continue that emotional world, returning to the familiar house and family while introducing the grown-up younger son, played by Anand Deverakonda.
These opening portions work reasonably well and create a sense of warmth and nostalgia.
However, once the story shifts to the UK, the film moves onto an entirely different track. Unfortunately, this is where the writing begins to lose its grip.
The biggest problem with the first half is that the relationship between the lead pair never becomes engaging. Though they are presented as students in the UK, there is very little about their lives that feels relatable. Much of their story takes place inside a room, revolving around conversations, intimacy and physical moments.
The film attempts to present itself as a modern relationship drama rather than a conventional love story. The idea itself has potential, but the characters are not written strongly enough for the audience to connect with them or genuinely root for their relationship.
The progression of the romance is also not particularly convincing. The relationship moves quickly from a casual interaction to kissing and intimate moments, but the emotional or physical attraction that leads them there is not established convincingly. There is neither a strong romantic bond nor enough emotional depth to make their relationship compelling.
The contrast between the characters—Anand’s timid and innocent personality and Vaishnavi’s comparatively bold nature—could have created interesting conflict. Unfortunately, the screenplay does not develop this contrast effectively.
There are a few enjoyable moments scattered throughout the first half, including the callback to the “Sampradayini” moment, but they are too few to significantly improve the overall experience.
The interval arrives with another intimate sequence, which is in line with the film’s A certificate, but it does little to create genuine curiosity about what comes next.
The second half attempts to introduce a more serious emotional and health-related dimension to the heroine’s character. Her sudden behavioural changes are explained through PCOD and menstrual health issues, and the film tries to highlight the physical and emotional difficulties women can experience during such phases.
The subject is certainly worthy of discussion, and the director deserves credit for attempting to bring it into a mainstream relationship drama. However, the execution is overly dramatic and often exaggerated, which weakens the intended impact.
For instance, when the hero learns that the heroine is menstruating, he runs barefoot through the streets just to meet her. Moments like these are presented with such heightened emotion that they come across as forced rather than genuinely moving. The visual emphasis on menstrual pain also feels too obvious instead of being handled with subtlety.
The film then spends considerable time on a pregnancy scare. Unfortunately, this track is also unable to generate much tension or emotional involvement. The screenplay begins to drag, and the narrative gradually loses momentum before moving towards the breakup drama.
By this stage, the central relationship has not been established strongly enough for the audience to feel emotionally invested in its outcome.
The UK setting is another missed opportunity. Despite being positioned as a story about students living abroad, the film gives us very little sense of their student life, surroundings or experiences. Most of the narrative could have taken place anywhere. The UK backdrop therefore feels more like a setting than an integral part of the story.
The film also attempts to bring the parents into the emotional equation towards the end. The father, played by Sivaji, faces financial difficulties and calls his son asking for money. The son feels guilty and eventually sends money home.
The intention is understandable, but the emotional payoff does not land because the film has not established the hero’s life in the UK beyond his relationship with the heroine. As a result, the family track feels suddenly inserted into the narrative rather than organically developed.
The final stretch is particularly disappointing. After a slow and uneven second half, the film arrives at a climax that fails to provide either a satisfying emotional payoff or convincing closure. The ending leaves the viewer wanting a stronger and more meaningful resolution.
Overall, EPIC – FIRST SEMESTER is a mediocre attempt from Aditya Haasan. After delivering a warm and nostalgic experience with 90’s, the director takes a very different route here but fails to make the relationship drama emotionally engaging.
The core idea has potential, but weak characterisation, limited conflict, repetitive situations and an overlong second half prevent the film from making the desired impact.
Performances by Other Actors
The supporting cast has very little to do.
MAD director Kalyan Shankar appears as one of the hero’s friends, but the character is largely a filler role and does not receive memorable writing.
Gavireddy Srinivas, who appears as another friend in the UK, gets slightly more presence but still leaves limited impact.
Sivaji and Vasuki Anand, who played the parents in 90’s, make brief appearances. Their presence initially creates expectations of nostalgia, but the film does not make meaningful use of their familiar characters. Their appearances are mostly brief and fail to generate the emotional impact one might expect.
Ultimately, the film depends heavily on its lead pair, while the supporting characters remain largely functional.
Music and Other Departments
Hesham Abdul Wahab handles the music. “Sancharame” has already connected with listeners, but the remaining songs are largely forgettable and do not add much to the narrative or visual experience.
The background score works reasonably well in places, while a situational song provides some support. Overall, the music is a mixed bag.
Azeem Mohammad’s cinematography is adequate but hardly memorable. Despite the UK setting, much of the film takes place inside a confined bedroom or indoor locations, with only occasional glimpses of the surrounding city. The visuals therefore do not fully utilise the potential of the setting.
Navin Nooli’s editing could have been considerably sharper. The second half, in particular, would have benefited from tighter cuts and better pacing, as several stretches feel unnecessarily prolonged.
The production values from Sithara Entertainments and Fortune Four Cinema are adequate for the scale and nature of the film.
Verdict
EPIC – FIRST SEMESTER has an interesting premise and attempts to explore a contemporary relationship along with issues surrounding emotional and menstrual health. However, the weak characterisation, unconvincing relationship dynamics, lack of meaningful conflict and slow second half make it difficult to connect with.
Aditya Haasan’s previous work had warmth and nostalgia; EPIC – FIRST SEMESTER unfortunately lacks the emotional connect required to make this relationship drama work.
Verdict: A mediocre relationship drama that struggles to connect.
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