Edagaiye Apaghatakke Karana Kannada movie review , songs , trailer

In a cinematic year brimming with high-stakes thrillers and emotional dramas, Edagaiye Apaghatakke Karana (translated as The Left Hand is the Cause of the Accident) stands out as a refreshingly offbeat black comedy that blends suspense, satire, and social commentary with surprising finesse. Directed by debutant Samarth B Kadkol, this Kannada-language film is a genre-bending ride that’s as quirky as its title.

At the center of the chaos is Lohith (played by Diganth Manchale), a left-handed IT professional working night shifts from home. What begins as a seemingly innocent secret date with Pooja (Nidhi Subbaiah) quickly spirals into a bizarre series of events involving three deaths, a nosy cop, a mysterious figure named “Casper,” and a string of accidents—all somehow linked to Lohith’s left-handedness. The film cleverly uses this premise to explore how a world designed for right-handers can become a minefield for those who don’t fit the mold. But beneath the humor lies a gripping mystery: What exactly happened that night? Who are the victims? And is Lohith truly innocent—or just unlucky?

Diganth Manchale delivers one of his most nuanced performances to date. His portrayal of Lohith—a socially awkward, well-meaning man caught in a web of absurdity—is both hilarious and heartfelt. Nidhi Subbaiah returns to the screen with charm and poise, rekindling her chemistry with Diganth from their Pancharangi days. Dhanu Harsha, in her debut, is a revelation as Radhika, a character who oscillates between ally and enigma. Nirup Bhandari, Radhika Narayan, and Krishna Hebbale make memorable appearances, adding depth and unpredictability to the narrative.

Samarth Kadkol’s direction is confident and self-aware. He avoids the trap of over-explaining the film’s quirky premise and instead lets the absurdity unfold organically. The screenplay is tightly woven, especially in the second half, where the pace picks up and the twists come fast and furious. The film’s tone is reminiscent of Sriram Raghavan’s Andhadhun—darkly comic, morally ambiguous, and full of surprises. Kadkol’s decision to insert a cheeky “Thank you for your patience” message after a musical interlude shows his flair for meta-humor and audience engagement. Praddyottan’s music is minimal yet effective, enhancing the noir aesthetic without overwhelming the narrative. The background score subtly underscores the tension and absurdity of Lohith’s predicament. Abhimanyu Sadanandan’s cinematography captures the claustrophobia of urban apartments and the eerie stillness of late-night Bengaluru, adding to the film’s suspenseful atmosphere.

Movie displays being different isn’t a flaw—it’s a lens through which the world can be hilariously (and tragically) misunderstood. Accidents aren’t always accidental—sometimes they’re the result of systemic design flaws. Perception shapes reality—what we assume about others can lead to unintended consequences. Humor can be a survival tool—especially when life spirals into absurdity.

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