‘Naali Cha’: A Slice of Rural Life in the Age of Social Media

Bhubaneswar: Eminent filmmaker Snehasis Das is back with his latest web series Naali Cha (Red Tea), a heartwarming yet thought-provoking six-episode Odia series that captures the essence of village life in the digital era. Released on his YouTube channel The Naked Eye, the series presents simple yet powerful narratives of different families in a rural setting, highlighting how social media has infiltrated even the remotest corners, influencing aspirations, food habits, and lifestyles.

Set in the quaint village of Kakudia, located between Jatni and Pipili, Naali Cha brings together an ensemble cast, including Somesh Mohanty Gargi Mohanty, Abhishek Giri, and Anubha Sourya, delivering compelling performances that resonate with the everyday struggles and aspirations of villagers. Through its nuanced storytelling, the series sheds light on how the younger generation is increasingly drawn to the digital world, yearning for viral fame through social media reels, while also becoming vulnerable to its darker side—cybercrimes, online gambling, and exploitation.

A recurring motif in the series is how social media influences food choices. One striking scene shows a group of children watching a mobile screen where a pizza appears. The concept is alien to most villagers, yet one child, captivated by the image, demands to taste it. This seemingly simple moment speaks volumes about how digital exposure is altering traditional food preferences, even in rural Odisha. The filmmaker draws a parallel to changing consumption patterns—while villagers once enjoyed maize in its natural form, they now prefer buying packaged cornflakes from the city, believing it to be superior.

Speaking about his decision to release Naali Cha on YouTube rather than an OTT platform, Snehasis Das explains, “I want this series to reach as many people as possible. OTT platforms require subscriptions, which can limit access. My aim is not monetization but storytelling—conveying a message that resonates with people. Hopefully, this will inspire producers to invest in meaningful, socially relevant content.”

Das, a keen observer of Odisha’s cinematic landscape, believes that while Odia cinema is evolving with new-age filmmakers experimenting with fresh narratives, commercial content still dominates investments. “There is still reluctance to back films that focus on social issues,” he laments. “I hope the industry starts embracing more subjective cinema that reflects our society.”

The title Naali Cha is metaphorical, encapsulating the essence of life itself. “Tea in its original form is bitter, but we add ginger, honey, or lemon to enhance its taste. Life, too, is like that—it needs different experiences and emotions to make it meaningful,” says Das.

Beyond its depiction of social media’s growing influence, Naali Cha also highlights the fading sense of community in villages. Where once people spent their evenings talking, playing games, or engaging in shared activities, mobile screens have taken over. “Even in villages close to cities like Bhubaneswar, the traditional way of life is disappearing,” Das observes. “People are becoming brand-conscious, aspiring for things they may not necessarily afford or need.”

With its engaging narrative, relatable characters, and social commentary, Naali Cha is not just a web series—it is a mirror reflecting the subtle but profound transformations taking place in Odisha’s villages. By blending realism with storytelling, Snehasis Das once again proves why he remains one of the most insightful filmmakers in the Odia film industry.