Meet the director behind ‘Dhandha’, the Telugu micro drama redefining cybercrime stories

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Journalist-turned-director Aditya Devulapally on cybercrime, quick shoots and turning a two-minute format into a director’s showreel

Updated - August 05, 2026 03:08 pm IST

Aditya Devulapally with Dora Sai Teja while filming ‘Dhandha’ | Photo Credit: Special Arrangement

Short films often become calling cards for aspiring directors to pitch their scripts to producers. Former journalist Aditya Devulapally went a step further. He co-wrote and directed a thriller micro drama series that is slowly making movie buffs and the film industry take note. Dhandha (business), the 29-episode Telugu micro drama series streaming on the Chai Shots app, marks Aditya’s debut as a director.

The story explores the underbelly of cybercrime by following an engineering student, played by Dora Sai Teja, who joins a cyber fraud group and climbs in the ranks by raising the stakes of digital financial scams.

Each episode, running a little more than two minutes, shows the transformation of the character and the cybercrime nexus. What sets the microdrama apart is its attention to detail in its storytelling and the production aesthetics that aspires to match a cinematic quality.

Aditya’s story is not too different from the many engineering graduates who gravitated towards cinema over the last two decades. “I was good at studies, in fact a topper. But I did not enjoy studying engineering and quit after the first year,” Aditya reminisces. In 2018, he convinced his parents of his decision. All he wanted was a camera. “I used to attend small-scale events and take photographs.” These gigs kept him going, but he had to find a way to enter the film industry.

Aditya with the cast and crew | Photo Credit: Special Arrangement

He considered journalism as a point of entry and enrolled in a mass communication and journalism course at St Mary’s College, Yousufguda, Hyderabad. A professor introduced him to world cinema and it opened up new vistas for Aditya. “I would spend more time watching movies in the lab than attending classes,” he says with a laugh.

His confidence in writing and speaking about cinema grew over time and he also attempted making low-budget short films, one of which opened the doors for film journalism. Aditya worked for nearly two years at The New Indian Express, using the opportunity to network with the film industry.

He met Anurag Reddy and Sharath Chandra of the Chai Bisket team and narrated one of his scripts. “Anurag sir liked my narration but stated that they were not looking at producing a violent film at that point in time. But we kept in touch.”

When Anurag and Sharath launched Chai Shots in late 2025, Aditya joined the team as a creative producer. As he listened to more than 100 stories pitched by aspiring filmmakers, he sensed something amiss. “Most micro drama platforms in India have been exploring similar stories — about a rich man turning poor or vice versa, or extramarital affairs — and the quality of production leaves a lot to be desired. I noticed how viewers who sign in to watch are also brutal in rejecting content that does not engage them.”

Aditya quit as a creative producer and focused on directing a micro drama. Among the stories he had read, he liked the crime thriller written by Vijay Kumar. “I asked him if I could write another version of his script that would suit the micro drama format and he obliged. I made changes to nearly 40% of the script. Once we locked the script, we pitched it to Anurag and Sharath.”

Dora Sai Teja in ‘Dhandha’ | Photo Credit: Special Arrangement

Aditya reveals that while many micro dramas are produced within a budget of ₹10 to 12 lakh, he was clear that this story would require at least three to four times that budget to give viewers an immersive experience. “Once the Chai Shots team liked my demo film, they were supportive,” he adds.

Cinematographer Ashwin Lenin put forth the idea of using a green and copper-tinged palette inspired by the colours of the rupee notes, while production designer Sanjana ensured that the settings remained gritty to suit the milieu. Rishi M was game to experiment with his music, ranging from Mexican instrumentation to African beats. The editing by Jagdish Goud, says Aditya, was designed to ensure a fast-paced narrative suitable for the vertical format.