Rashmika Mandanna’s The Girlfriend clears censor with U/A certificate, releases November 7

Rashmika Mandanna’s upcoming romantic drama The Girlfriend has crossed its final pre-release hurdle. The film has been granted a U/A certificate by the Central Board of Film Certification (CBFC), clearing the way for its worldwide theatrical release on November 7. Directed by Rahul Ravindran and co-starring Dheekshith Shetty, the film promises an emotional journey built around love, confusion, distance, and longing.

The film is presented by Geetha Arts and has been drawing steady attention ever since the trailer dropped. The trailer gave a peek into the bittersweet world of Bhooma and Vikram, played by Rashmika and Dheekshith. Their relationship is portrayed as one that has warmth and closeness, but also tension and unspoken fears. The narrative opens with Bhooma asking for a “small break” from the relationship. Vikram assumes it’s temporary, but Bhooma makes it very clear that she means something real and more permanent. This sets the tone for a story built around vulnerability and the difficult questions couples face when love doesn’t feel simple anymore.

A flashback sequence in the trailer shows Vikram impulsively proposing marriage after claiming there is an auspicious time in just a few days. His confidence about love stands in contrast to Bhooma’s hesitation. That contrast becomes the emotional spine of the story — two people who feel deeply but are moving at different emotional speeds.

Rashmika has often spoken about her admiration for Rahul Ravindran’s storytelling. She has publicly called him a friend and mentor, crediting him for creating a film that carries emotional sincerity in every frame. In an earlier birthday message to the director, she wrote that the emotional depth he brings to his work is something she values immensely. It’s clear that this project holds personal meaning for her.

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The music is composed by Hesham Abdul Wahab, known for creating atmosphere through melody rather than volume. Krishnan Vasant handles cinematography, and the visuals appear to be rooted in mood more than spectacle. Nothing looks rushed or forced. The emotional tone of the film seems to rely on silences, close-ups, and the in-between moments that define real relationships.

The Girlfriend arrives at a time when audiences have shown a renewed interest in intimate, character-driven love stories rather than loud, dramatic romances. If the film stays true to its promises, it may resonate not because it is grand, but because it feels familiar.