Nani’s The Paradise is one of the most ambitious projects in his career, bringing him back with Dasara director Srikanth Odela. Produced by Sudhakar Cherukuri under SLV Cinemas, the film stars Nani as the central character, with Kayadu Lohar as the female lead, Raghav Juyal as the antagonist, and Mohan Babu, Sonali Kulkarni, and Sampoornesh Babu in important roles.
Anirudh Ravichander composes the music, while Ch Sai handles cinematography. Set against a raw, slum-based backdrop, the film revolves around a marginalised community and its struggle against an oppressive system.
The promotional material has already created strong buzz, with the teaser promising a violent, intense world and “Aaya Sher” emerging as a major chartbuster.
The Paradise Reportedly Skipping Its Trailer
The Paradise is being treated as a career-defining and high-stakes project for everyone involved. The film has reportedly crossed the ₹100-crore mark in theatrical business, with impressive pre-release valuations:
| Territory | Theatrical Business |
|---|---|
| Nizam Rights | ₹37 Crore |
| Worldwide Theatrical | ₹108 Crore |
Amid this anticipation, an interesting rumour has surfaced: the makers may choose not to release a conventional trailer before the September 24 theatrical release. Gulte has even raised the question of whether the team can deliver a proper trailer cut, while the promotional campaign has so far leaned heavily on its teaser, songs, and character glimpses.
Is Nani Following Vijay?
This would not be the first time a major South Indian film has considered such a strategy. Vijay’s Master also generated similar reports in January 2021, with the makers initially believed to be planning to skip the theatrical trailer and instead rely on the hugely successful teaser and short promotional videos.
The teaser created a massive response, crossing 16 million views and 1.6 million likes within 16 hours. However, Master eventually did release a trailer, particularly for its Hindi version, so the comparison with The Paradise is more about the promotional strategy of withholding a full trailer and preserving curiosity than completely abandoning trailer promotion.
Master went on to open strongly despite pandemic-era theatrical conditions, making the approach an intriguing reference point for Nani’s film. By holding back the trailer, the makers could be betting on sustained curiosity and strong word-of-mouth to drive opening day footfalls.
