Non Veg

By Susmita Sameera



Non Veg is built around an interesting and relevant idea: how a child’s innocent question, when misunderstood and mishandled by adults, can have a lasting impact on their growing years. The film’s strength lies more in this thought than in its overall execution.



The story begins with a young boy asking what “sex” is, only to be beaten by his father (Deepak Panaje) and later by his teacher. When taken to a psychologist (Naveen Padil), the explanation he receives further confuses the issue. It is later revealed that the boy was merely trying to fill out a school form that required mentioning gender. This moment clearly establishes the film’s core point: the adults’ overreaction creates curiosity where none originally existed. The psychologist’s scolding of the parents reinforces the idea that avoiding or mishandling such questions only pushes a child’s mind to wander.



This curiosity follows the boy into his teenage years and adulthood, influencing his thinking and even his career choice. He believes photography will allow physical proximity under the pretext of work, leading him to become an assistant to Sadanand, known as Sadanna (Prakash Thuminadu). Sadanna is portrayed as a manipulative photographer who easily charms women, breaks marriages, and treats relationships as a game driven by his own impulses. Madan (Atharva Prakash), though naïve and slow to pick up these manipulative skills, is clearly influenced by Sadanna’s worldview.



The emotional centre of the film is Madan’s relationship with Akshara (Sanjana Burli), a costume designer he meets during a pre-wedding shoot. Their friendship develops naturally and turns into attraction, but Madan’s misunderstanding of her intentions, shaped by Sadanna’s advice, leaves both of them heartbroken. In contrast, Sadanna himself faces a life lesson when his attempt to marry for money backfires, forcing him to confront the true meaning of love and marriage.



While the film’s idea is engaging, the narrative balance is uneven. A significant portion of the film shifts focus from Madan to Sadanna’s marriage story, sidelining the established topic. This makes the film feel dragged, even though its runtime is short. The more interesting aspects of Madan’s journey and emotional conflict receive comparatively less screen time.



That said, Non Veg has its share of good moments, light humour, pleasing cinematography, and decent songs that keep the film watchable. Despite its pacing issues and uneven focus, it remains a one-time watch for viewers interested in films that tackle bold themes with relative sensitivity and care.