Love overcomes all obstacles, including those caused by politics, religion, and language.

Sita Ramam, the most recent romance film from director Hanu Raghavapudi, is primarily motivated by that feeling.

In some ways, this movie is the director's retelling of the Ramayana, set against the turbulent backdrop of contemporary geopolitics.

As she delivers a message from Rama to Sita, Afreen (Rashmika Mandanna), a Pakistani national, assumes the role of Hanuman from the epic.

Afreen is a proud Pakistani who has been socialised to view anything Indian badly.

She smashes the automobile of a wealthy Indian benefactor in London in a fit of rage.

Afreen is given two choices by the victim of her violent act: she can either accept responsibility and apologise, or she can pay a million rupees.

She might wind up in jail if she is unable to achieve both.

Instead of apologising, Afreen decides to compensate the wealthy man.

In order to meet her affluent grandfather and pay the punishment, she travels back to Pakistan.

The problem is that she hasn't spoken to him in years because of their disagreement, and now she learns that he has died.

Her grandfather's fortune will take care of all of her financial needs, so don't worry.

The catch is that she must first run an errand for him.

The task is straightforward: deliver a letter that an Indian soldier named Ram sent to his beloved Sita in India.

Afreen can say goodbye to the wealth her family has amassed if she fails to do this.

She doesn't appear to have many choices left, does she?

Afreen boards a plane for India, where she undergoes a transformation that teaches her that you can love someone without hating other people.

Hanu skillfully crafts the story around a lovely message about our shared history of love, peace, and brotherhood.

However, the romantic theme, which was meant to be the movie's strongest point, ends up being its most evident flaw.

Ram's (Dulquer Salmaan) and Sita's (Mrunal Thakur) romance seems contrived in the manner it unfolds.

The two young people's back-and-forth dialogue is unsophisticated, dull, and seems unduly prolonged.

This movie really needed to concentrate more on the love narrative and less on portraying Ram as this perfect, morally upright man.

Ten sequences are not necessary for a director to prove one point.

A single shot, if executed properly, is sufficient to prove that.

The on-screen presence of Dulquer and Mrunal does, however, inject some life into the otherwise lifeless narration.

The actors' attractiveness is mostly what keeps the movie watchable.