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Kantara Review: Insanely Entertaining, Propelled By Rishab Shetty's Blindingly Good Star Turn

Kantara review: a heady blend of history, myth, folklore, high drama and stylishly choreographed action neatly wrapped in a form firmly rooted in the cultural milieu it has sprung from..

A still from Kantara trailer. (courtesy: HombaleFilms )

Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda

Director: Rishab Shetty

Rating: 4 stars (out of 5)

A visually sumptuous, instantly immersive spectacle mounted with extraordinary vim and vigour, writer-director-actor Rishab Shetty's Kannada-language Kantara , now on nationwide release in Hindi and other languages, is a heady blend of history, myth, folklore, high drama and stylishly choreographed action neatly wrapped in a form firmly rooted in the cultural milieu it has sprung from.

Shetty is also the writer and lead actor of the film. As screenwriter, his output is probably just a touch shy of being perfect, but the script has enough heft and vibrancy to translate into a mass entertainer that is visceral, rousing and unwaveringly riveting.

A wide array of things makes Kantara the incredible film that it is, but the most prominent of all are the on-screen performers led admirably well by Shetty. He packs a punch that sends us reeling and continues to reverberate long after the film has run its course.

The film kicks off at scorching pace. The introduction of a divine spirit that watches over the forest and a stirring Kambala buffalo race within the first 15 minutes or so of the film set the tone. Getting accustomed to the sensory overload takes a while. However, once the two-and-a-half-hour film's design - both visual and aural - reveals itself in all its splendour, everything falls into place and draws the audience into the spellbinding Kantara (literally, mystical forest) universe.

The potent drama focuses on the fraught power dynamics, social and divine, that have forever been at play in a coastal Karnataka village where a seemingly benign feudal lord wields unlimited, unquestioned authority over the people. He decides what is good for the villagers. The latter go along.

It isn't servility that underpins the relationship between the master and his serfs. The key is loyalty. It has been built over decades of what feels like benevolence but may not be what it appears to be. Also central to the plot of Kantara is a conflict that arises from threats posed to the rights of forest dwellers over the swathes of land that have been their home for centuries.

In the lead role, Shetty brings dizzying energy to bear upon his performance as the buffalo race champion Shiva, a fiery young rebel with a cause. The young man has to contend with demons of his own mind - recurring nightmares in which he sees visions of the reigning deity in a wrathful avatar drive him to the edge of despair and a constant need to give vent to his rising ire.

His impulsive response to provocations put him on a collision course with the powers that be and his own mother, Kamala (Manasi Sudhir). She frets in vain over his compulsive hunting of wild boars - an act that is linked to the unsettling dreams that repeatedly interrupt his sleep - and violent confrontations with the landlord's henchmen.

The actor-director creates an electrifying larger-than-life figure whose volatile ways shape the frisson that pulses through the film. The young man, perpetually on a short fuse, is foresworn to protecting the village from forces out to rob the indigenous population of access to their ancestral land. Friction between him and government officials erupts because the latter are loath to accept that the forest belongs to the villagers.

Kantara , a film of phenomenal sweep and power, delivers a blindingly brilliant climax and a build-up to it that send the film soaring to the sort heights that only truly great commercial films have ever attained. The cinematography by Arvind S. Kashyap and the musical score by B. Ajneesh Loknath are magnificent. They work in tandem to create an impactful, out of the ordinary movie experience.

As tensions peak in the village and the forest's demigod (ritualistically celebrated in the annual Bhoota Kola ceremony) lurks in the background and is always ready to strike, the nature and dimension of Shiva's fight become clear.

Shiva's biggest foe is an upright deputy forest range officer Muralidhar (Kishore) who will stop at nothing to ensure that the government's writ runs. The landlord Devendra Suttur (Achyuth Kumar), Shiva's master and benefactor, makes common cause with the feisty young man. But are the powerful arbiter's intentions above board?

The opening moments of Kantara provide some broad historical clues. In quick succession, the script details the context of the present conflict. In 1847, the King, at the bidding of the Panjurli (boar) demigod, hands over a large expanses of land to the tribal denizens of the forest and is in return assured of decades of peace and prosperity.

Many generations later, the King's successor, driven by greed and drunk on power, wants all the land to be restored to the royal family. The deity, infuriated at the violation of the long-standing covenant, metes out instantaneous punishment to the offender. In 1990, the year in which Kantara is set, a government officer arrives in the village with a brief to wrest control of the forest land under his charge.

Legends and myths prevalent in the area and beliefs flowing out the forest dwellers' collective memory constitute the narrative crux of the story. The film is marked by a deep sense of the unique ethos of the people it is about.

Shiva, a Bhoota Kola ritual performer, represents a hoary custom but has passed on the mantle to a cousin because he was witness to the disappearance of his father while he was in the guise of the demigod. The loss still haunts Shiva and spurs him on to fight for the protection of his cultural/spiritual moorings.

Shiva is a virile defender of his people and their animistic philosophy, but he isn't the conventional, insuperable Alpha male that films such as KGF, RRR and Pushpa have brought back to the Indian cinema mainstream and made a box-office killing in the bargain. Kantara resists the temptation and is none the worse for it.

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The climactic good-versus-evil confrontation - it isn't an ordinary hero-vanquishes-villain construct, catapults Kantara to an exalted plane. It offsets the one drawback that dilutes the film's a bit. Such is Shiva's halo that the characters around him - his friends and his girlfriend Leela (Sapthami Gowda) - are not quite as vivid as the other technical and narrative elements of the film.

In the light of the sustained overall finesse, anything in this film that is less than totally unblemished will count only as a minor false stroke on an otherwise impeccably realised canvas. Kantara , propelled by Rishab Shetty's blindingly good star turn and impressive directorial skills, is an insanely entertaining film. An absolute must watch.

Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda

Rishab Shetty

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'Kantara' movie review: Rishab Shetty delivers a compelling and rooted film

Conflicts between man and nature have always provided enough fodder for our filmmakers to dole out one film after the other. Rishab Shetty’s Kantara, though dealing with the same concept, strives to be original and wins at it by staying rooted and realistic.

Even in his previous films, Ricky and Sa.Hi.Pra Shaale, Rishab expressed his flair for telling stories of the coastal belt of Karnataka. With Kantara, he further goes deep into the woods to talk about safeguarding forests even while delivering a compelling revenge-action drama with a blend of crime and divinity.

Kantara is set in a fictional village of Dakshina Kannada, and begins in the 18th century when a king exchanges a piece of land with his people and moves on to find peace and happiness. Centuries later, the same land becomes a threat to the tribals of that area., but they believe their demigods, doubling up as their guardians, protect the village. The story shifts to the 90s, and we see the face-off between villagers who dwell in the forests, and the forest officer who wants to clear any encroachment in the area.

Shiva (Rishab Shetty) lives a carefree life with his friends, and is often at loggerheads with forest officer Murali (Kishore), who just wants to uphold the law of the land. We also have a politician Devendra Suttur (Achyuth Kumar), whose misdeeds become his identity. But there is a bigger evil at work, and Kantara is about Shiva’s struggle to bring justice to the people of the village.

The film ends with an outstanding climax, which is definitely the USP of Kantara. There are multiple viewpoints in Kantara, and it is all wonderfully brought together by Rishab, who has written and directed the film too.

Rishab is only getting better with each film, and the backing of Hombale Films has allowed the filmmaker to make the movie more realistic. Even though it runs on the familiar territory of human-nature conflict, the chapters of Bhoota kola and Kambala make it unique. Every frame of the film is beautiful. DOP Aravind Kashyap lights up Kantara in vivid shades, and with able support from art director Dharani Gange Putra, gives Kantara a rather natural look.

Kantara also explores some serious issues like caste discrimination. While there is no separate comedy track, there are enough quirks in some of the characters to add to the fun quotient. The film brings in crisp narration, and extra credit should be given to the well-orchestrated action sequences.

Composer Ajaneesh Loknath is marvellous in Kantara. While his folk melodies are soothing, the background score accentuates the narrative of Kantara.

Rishab, the actor, is outstanding as Shiva, and breathes life into this rather unconventional character. He has undergone a mass and intense transformation for the role, and the effects are evident. Rishab’s performance in the nail-biting climax will definitely make the audience cheer and applaud for him. Sapthami Gowda as forest guard Leela, who is also Shiva’s love interest, delivers a decent performance in Kantara. Kishore and Achyuth too give powerful performances, and it is a joy to watch the former’s intense ego clashes with Shiva. Manasi Sudhir, Pramod Shetty and Prakash Thuminad too are decent with their acts.

With Kantara, Rishab once again creates magic, both as a director and an actor, and delivers an entertainer with a strong social message, and an even stronger final act.

Director : Rishab Shetty

Cast : Rishab Shetty, Sapthami Gowda, Kishore, Achyuth Kumar

Ratings : 4 out of 5 stars

(This story originally appeared on Cinema Express )

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Kantara movie review: Rishab Shetty's mesmeric blend of action and mythology ranks among the best of Indian cinema

Kantara movie review: rishab shetty brings an original tale rooted in indian culture and mythology that surely ranks among the best efforts by an indian filmmaker in recent times..

By the time of the writing of this review, Kantara has earned endorsements from people far more accomplished in the world of cinema, with many more National Awards than this writer can ever hope to win. So I’ll admit I went into the theatre with a preconceived notion about the film, hoping for something good. But Kantara still blew me away. The beautiful amalgamation of action, thrill, faith, and mythology in this powerful film ranks among the best efforts by any Indian filmmaker in recent times. Also read: Kantara becomes highest-rated Indian film on IMDb, Dhanush calls it 'a must-watch'

A lot has been said about how Indian cinema is losing touch with its roots and not finding original stories from the heartland. This land, being so diverse and vast, is a treasure trove of stories. Kantara shows just what is possible when a good storyteller decides to tell an original tale rooted in the land and its culture, while bringing with himself the expertise and technical finesse of good filmmaking. At the heart of it, Kantara is the age-old story of man vs nature, of villagers vs zamindars, and the thirst for land and money. But it is so much more as it weaves elements from coastal Karnataka’s culture and mythology in the story so seamlessly and fluidly.

The story is set around a village in south Karnataka where a king had given that land to the villagers 150 years ago. In 1990, when the story is set, an upright forest officer (played by a brilliant Kishore) is trying to curb tree felling and hunting in that land, which is now a reserve forest. To complicate matters, the villagers believe that the land was given to them as a boon from their Daiva--the demigod protector of the forest, and are hence in no mood to listen to this outsider. Leading the charge against this is the village strongman Shiva (Rishab Shetty), and he is supported by the king’s descendant, the village’s sahib (Achyuth Kumar).

It is hard to pinpoint the one thing that makes Kantara tick. Let’s start with the script. It takes a story seen very often in our daily lives and introduces some unique local flavour, rooting it to Indian culture, making it stand out from among other such tales. Then comes the real cherry on top of this beautiful cake- the breathtakingly beautiful cinematography of Arvind Kashyap. The way Arvind’s lens has brought alive the folklore of Kantara is a lesson for storytellers. Some of the scenes of the buffalo racing in the beginning of the film deserve special praise, as do all the scenes from the festivities and visuals of the Daiva.

The background score and music from Ajaneesh Loknath complements the camera work totally. The choice to use western instruments in some scenes depicting Indian festivities was a bold one and it pays off quite well. The score brings out the myths, culture, and feel of the land where Kantara is set, taking you into the heart of the story so easily that you forget you are sitting in a movie theatre in another part of the country.

Rishab Shetty as Shiva delivers a powerful performance as this unstoppable force, who will go to any lengths to protect his village and his people. His beautifully-choreographed and slick action sequences would be at home even in the best of Hollywood films. Kishore is on the other spectrum as the calm, simmering forest officer Muralidhar, at loggerheads with Shiva. The actor brings so much intensity into his scenes that it’s a treat to watch.

This review would be incomplete without the mention of how colourfully and glamorously the film portrays the local festivities and rituals. The colours are vivid, the sounds melodic, and the portrayal powerful. All the scenes involving the Daiva are compelling, and some even hair-raising. That guttural scream from the Daiva gives you goosebumps on more than one occasion. Without spoiling anything, I can just say that the climax, while being a completely masala Indian film offering, elevates the film to another level.

Like Sohum Shah’s Tumbbad some four years ago, Kantara is proof that the earthy, rooted folk tales from India have the power to be turned into compelling cinema. Kantara, in fact, takes Tumbbad’s legacy even forward. Despite being appreciated by everyone who watched it. Tumbbad made only ₹ 13 crore at the box office. Kantara, meanwhile, is hurtling towards the 100-crore mark. It is an important film because it’s success will determine if other filmmakers across India will dare to tell original stories.

Director: Rishab Shetty

Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda, Pramod Shetty, and Manasi Sudhir.

Abhimanyu Mathur is an entertainment journalist with Hindustan Times. He writes about cinema, TV, and OTT, churning out interviews, reviews, and good old news stories. ...view detail

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‘Kantara’ review: Divine intervention elevates a regular action drama

Rishab shetty’s kannada-language movie has been dubbed and re-released in hindi..

Actor-director Rishab Shetty’s Kantara is the latest Southern production to send viewers into raptures or numbness, as the case may be. The Kannada-language movie was released on September 30 and has been re-released in cinemas in a Hindi dubbed version (as was the Telugu film Sita Ramam ).

A dizzying mesh of animistic beliefs, folk performance traditions, generational memory and concerns about land rights, Kantara (Mystical Forest) is best expressed not by its uninhibited rustic characters or colourful visuals but by a sonic element. If we were to put it into words, we would call it “wooooooaaaav”. This signature cry of the demigod Bhoota bookends the movie’s gripping opening portions and its visceral extended climax.

Shetty directs his own screenplay with unbridled panache, treating even routine scenes as milestones on an epic journey. The 150-minute film unfolds across three time zones. The first phase serves as an origin myth of how humans came to depend on forests.

A king enters into a pact with Bhoota, handing over his land to forest dwellers in exchange for Bhoota’s munificence. In later years, Bhoota is represented by a designated performer who dresses up as the demigod at festivities. A turn of events causes Bhoota to disappear into the forest in a blur of tinkling anklets.

The Bhoota performer’s heir Shiva (Rishab Shetty) has no desire to follow in his father’s footsteps. Instead, Shiva is content to win the local kambala (bullock riding) competition, swig locally brewed grog, smoke up, and hunt boar and fish.

The idyll is interrupted not by the king’s latest descendant, the seemingly benevolent landlord Devendra (Achyut Kumar). The new, and aggressive, forest department officer Muralidhar (Kishore) declares the villagers to be encroachers and attempts to seize the land in the name of the Indian state.

Devendra plays peacemaker as Shiva and his posse gird their loins to take on Muralidhar. Shiva’s sweetheart Leela (Sapthami Gowda), who works for Muralidhar, is squeezed between her community and her professional duties.

Leela is ultimately a stepney in the main ride: the realisation of who is actually behind the land grab. Even Muralidhar is a red herring for a feast that takes its own sweet time to be laid out.

While waiting for Shiva to embrace his inner Maoist, Shetty rolls out bawdy comedy, disposable melodramatic scenes of Shiva jousting with his crabby mother (Manasi Sudhir), and various shades of swagger. Some of these scenes are amusing in themselves, particularly the relationship between Shiva and his loyal cronies.

Kantara ’s themes have been explored in a more sober register by arthouse films and documentaries about the pre-modern belief systems that bind indigenous communities to their land. The Bhoota Kola performative tradition enlivens an often routine vengeance drama stacked with macho posturing and slow-motion action scenes.

Shiva is an iteration of the unreconstructed males valourised by popular cinema. Shiva’s courtship of Leela won’t fit the accepted definition of consent. (Does a female waist exist only to be rudely pinched?) At least Kantara is less coy than Pushpa: The Rise (2021), which kicked up a mighty fuss over a harmless kiss.

Literally broad-chested and consistently brawny, Shiva might have been a caricature if it weren’t Rishab Shetty’s deep investment in his character’s emotional arc. Shetty’s interest in the Yakshagana performing tradition pays rich dividends when Kantara finally brings together its disparate threads. Always on fire, Shetty’s Shiva is truly explosive in the film’s blazing stand-off.

The Bhoota’s hold over the villagers’ imagination of themselves kicks off the movie, and the Bhoota rescues Kantara from its wandering ways. Arvind S Kashyap’s lensing and colour scheme are most vivid when the spirit’s human manifestation dances into view, emitting the “wooooooaaaav” roar that lingers long after Kantara has ended.

Countless films have been rescued by the device of the deus ex machina . In Kantara too, the machine of the gods trundles into view at just the right moment. While the film’s politics about land rights is sketchy and weak, Shetty’s evocation of a sacred landscape where the rational seamlessly co-exists with the supernatural leads to a memorable battle between human perfidy and the forces of divinity.

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Home » Review » Kantara review: Spotlight's firmly on Rishab Shetty in this glorious piece of story-telling »

Kantara review: Spotlight's firmly on Rishab Shetty in this glorious piece of story-telling

An intensely engaging story based on folklore from coastal Karnataka, Rishab Shetty's film is an absolute winner. 

• Prathibha Joy

Last Updated: 10.19 AM, Sep 30, 2022

Story: A village on the fringes of a reserve forest in Kundapura forms the backdrop of this tale. Believed to have been a gift from the king many centuries ago, this land becomes a bone of contention for the government, as it is encroachment in a reserve forest area, as well as for the local landlord, who wants to reclaim what he believes to be rightfully his. The conflicts that arise between the villagers, the forest department, and the landlord form the crux of this tale.

Review: If there’s one thing that Rishab Shetty has established today with his film Kantara, it is that you can create goosebump-inducing cinematic experiences without unrealistic heroism elevation shots. You can do it even if your hot-headed lungi-clad hero finds simple pleasures in drinking freshly brewed arrack after winning a Kambala race.

Kantara may seem like a mundane tale of land grabbing and the politics behind it, but on closer inspection there is so much more. It’s a coming-of-age, transformational journey for Rishab’s character Shiva, going from being the alcohol guzzling, weed smoking angry young man to truly embracing his roots. Honestly, it is difficult writing about this film without giving away plot points, so I will try my best to refrain from that. Kantara, I believe, is a film that has to be experienced visually and not by piecing it together from a review or two. And I say this as someone who has absolutely no understanding of the culture and traditions of Kundapura. Rishab’s film had me glued to my seat from start to finish even though I could not comprehend the significance of Bhoothakola or Daivaradhane, as practised in the region. A subject so alien, yet one that I grew increasingly intrigued about as I was watching Kantara.

Rishab Shetty is, undoubtedly, the star of Kantara. As Shiva, he puts on a riveting performance that was also physically challenging, but is made to look absolutely effortless. This is a role he’d written for himself, he’d told me earlier. What a good call that was for the filmmaker, who had not played the lead in his earlier directorial ventures. Come to think of it, it is next to impossible to imagine anyone but him in that role. But Rishab’s absolute masterstroke is in the ensemble cast he assembled, whether it is Kishore, Sapthami Gowda, Pramod Shetty, Prakash Tumminad, or Achyuth Kumar. Each one is brilliant in well-sketched characters written by Rishab. And even though I had to rely on the subtitles for portions of the Tulu dialogues (which, interestingly, also had Kannada subtitles), the gist was conveyed well.

Ajaneesh Loknath, you are a magician with music. I am no expert, but the tunes he’s put together as songs and background score are absolutely mesmerising and pleasant to the ear. Please release the full soundtrack of the film soon. And last, but definitely not the least, Aravind S Kashyap and his wizardry with the camera. Rishab can take credit for writing the world of Kantara, but showing it to us as a visual spectacle is Aravind and his lens.

Verdict: Rishab’s biggest victory, I believe, is that he’s been able to transport his audiences to this tiny hamlet and be involved in everything going on there. Taking a rooted tale and presenting it to a larger audience is a gamble; not everyone may take a shine to it. But if you at least manage to create an iota of interest in the subject among this audience, it’s a job well done. Kantara may not be perfect on all counts, but it will go down in history as a film that will be remembered for all the right reasons.

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When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice. When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice. When greed paves the way for betrayal, scheming and murder, a young tribal reluctantly dons the traditions of his ancestors to seek justice.

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• Trivia The entire film was shot in 96 days with a budget of 16 crores INR and it made almost 188 crores within one month

Murali : It is said that the lamp burns its brightest before it dies.

• Soundtracks Le Le Le Lega [Vallav Re Nakwa] (Rebel Song) - Theatrical version (Hindi) Music by B. Ajaneesh Loknath Lyrics by Akshay Punse , Yogita Koli & Pravin Koli Vocals by Nakash Aziz & Nagaraj Panar Valthur

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• irfanirf-82032
• Oct 1, 2022
• How long is Kantara? Powered by Alexa
• September 30, 2022 (India)
• कांतारा: ए लेजेंड
• Hombale Films
• See more company credits at IMDbPro
• $2,000,000 (estimated)

Technical specs

• Runtime 2 hours 28 minutes
• Dolby Atmos
• Dolby Digital

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Kantara Review: Lavishly Shot Folklore Story

Movie: Kantara Rating: 3/5 Banner: Hombale Films Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda and others Music: Ajaneesh Loknath Director of Photography: Arvind S. Kashyap Editor: K. M. Prakash, Pratheek Shetty Producer: Vijay Kiragandur Written and directed by: Rishab Shetty Release Date: Oct 15, 2022

After setting the box office on fire in Karnataka, the latest Kannada hit ‘Kantara’ got dubbed into Telugu and hit the screens today.

Let’s find out what the hype is all about.

Story: A king in the 1800s gave his forest land to the local tribe's people. In the 1970s, one of the king’s successors tried to claim the lands as his. When he moves to court to claim the land, he dies on the steps of the court.

In 1990, a forest officer Murali (Kishore) lays restrictions on the forest dwellers saying the government land cannot be touched. The local youth Shiva (Rishab Shetty) challenges Murali. 

Shiva is also a loyal henchman to the local feudal lord Devendra (Achyuth Kumar). Wrongly assuming that Murali tries to usurp their community from the forests, Shiva goes against him. Shiva’s father was a Kola ritual performer, in their forests and his cousin Guruva practices the same. 

When Guruva was killed brutally, Shiva gets to know reality. The rest of the drama is about vengeance. 

Artistes’ Performances: Kannada actor Rishab Shetty suits well to the character of a 90’s rustic youngster. His brilliant performance comes out in the penultimate sequences. His acting is simply superb in the last 25 minutes. 

Kishore as forest officer does excellently. Achyuth Kumar as the feudal lord gives a terrific performance. Sapthami Gowda as the female lead is okay. 

Technical Excellence: The film has technical brilliance. The cinematography is top-notch. Set in a deep forest, the filming of Kolam sequences and the buffalo race are mesmerizing.

Music director Ajaneesh’s background score and the cameraman’s brilliant shots have created a terrific mood. They steal the show. The film has a slow pace.

Highlights: Climax sequences Cinematography and background music Rishab’s final performance

Drawback: Middle portion Cliched jokes

Analysis To get a grip on the latest Kannada blockbuster “Kantara”, we also need to know the customs, folk culture, and the land of Dakshina Karnataka (Mangalore area). The western ghat region of Karnataka is home to deep forests and unique culture. Bhoota Kola is a ritual, where a man performs with all the colorful makeup and finally delivers a speech. People believe that the speech is God's word. This myth or legend exists in this region. Some families follow the customs.

The hero of “Kantara” belongs to the Bhoota Kola family. The film begins with a King’s story in 1847 and then cuts to 1970 when the hero’s father performs Kolam and mysteriously disappears into forests. In 1990, when the story is set, the hero is haunted by dreams. He sees god coming in Varaha roopam. It is his guilt as he hunts pigs in the forest. 

So, there is a hero, whose father was Bhoota Kola, and one who sees God in dreams. And the hero is working for a feudal lord, who acts as their protector. Then the main conflict is about the encroachment of the forests and lands. Director Rishab Shetty has added elements of myth, folklore, and local traditions to tell the story. We need to take all these into account to understand this film. 

Simply, the film is a regular masala film of a brother taking revenge on the feudal lord who kills his cousin. There are clichéd sequences. The love story between the hero and heroine is dull. It lacks any novelty. The villain is in plain sight. The villain’s (played by Achyuth Kumar of ‘KGF’) role is also quite clichéd. 

The comedy scenes and drinking sequences are quite boring as well. But despite these issues, many elements have made the film unique and immersive. 

Much of the film delves into the hero’s hunting habits, his romantic episodes, his camaraderie with local friends, and their village issues. But when the hero’s cousin gets killed, the film takes an entirely different route and it turns into a thrilling ride. The final 20 minutes of this film provide a riveting experience. Acting, taking, music, and sound design have synced well in this episode. Thus, ‘Kantara’ becomes a riveting film.

‘Kantara’ means deep forest. For Telugu audiences, the middle portions and some comedy sequences don’t work but the film’s strength lies in the climax episode and technical aspects.  On a whole this film takes the audience into a different world with its amazing background and sound effects. This is for those who want to experience an out of the box experience.  

Bottom line: A different experience

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Tags: Kantara Kantara Movie Review Kantara Review Kantara Rating Kantara Telugu Movie Rating Kantara Movie Rating

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Kantara (2022): Movie Review & Ending, Explained

Rishabh Shetty’s Kantara is one of the latest box office successes that is creating quite some brouhaha within the cinema-goer fraternity. With a whopping 9.6 rating on IMDb , the film turns out to be a bigger hit than KGF 2- Hombale Films’ last release. Normally, I do not wrangle myself in the politics of film ratings- I give my two cents to people who are willing to trust my judgment and walk away. But today was different- I not only spent 2.5 hours in the theater questioning the morals of the film critics and giants like IMDb but also felt sorry about legendary films like Tumbbad that went unnoticed.

Kantara Plot Summary & Movie Synopsis: 

The old folklore of the Punjarli from the coastal part of Karnataka forms the heart of Kantara. As per the myth, Punjarli (a word derived from boar) is the local demigod who looks after the tribals for their well-being and prosperity. He is also joined by his brother Guligu in the task. To honor the deity, the locals celebrate an annual event ‘Kola’ which is led by a priest. After the rituals, the demigod briefly possesses the priest to address the problems of the tribals and answer their questions.

This story originates in the 1800s when the King of the land left his house and family in search of peace, prosperity, and happiness. After a long quest, he eventually finds a small village in the heart of the forest with the idol of the demigod Punjarli. That’s where his search ends. Naturally, he wishes for God to follow him back to his kingdom so he could lead a happy life. But there is a catch- he can only make that happen in exchange for large acres of forest land to the tribals (to which he agrees).

Fast forward 100 years (the 1970s) from when the king gave his word, a descendent zamindar comes back to the village to claim the land that was given by his ancestors. The villagers protest against it and warn him of the wrath of the demigod that has been protecting them but to no avail. The dispute escalates till the Punjarli had to interfere and curse the zamindar to a painful death. Soon after the malediction, the demigod runs off to a forest and disappears, leaving his very young son right after him. 

The film then jumps to 1990. It centers around Shiva (the old demigod’s son), who has grown up to become a good-for-nothing yet the very loved son of the village. He hunts boars, eats them, and fights. Since the disappearance of the demigod, another villager (Guruva) has taken up the role to perform the rituals. It is expected of Shiva to take up the role but his disinterest and his reckless attitude get the better of him. Rather, he prefers spending most of his time hunting boars, eating them, drinking, and fighting.

At this point, we are also presented with the conflict- there is a new forest officer (Murali) who has been transferred to the area to prevent encroachment and preserve the forest. Since the villagers have little knowledge of the new laws, they are clearly agitated and Shiva takes this enmity up with the officer on behalf of the villagers. Additionally, there is also the zamindar (current descendent)- Rammpa, who is still looking to claim his land back. Subsequently, the narrative segues into a story about vengeance, anger (lots of it), unfunny series of jokes, and unexplainable reactions. The end, my friends, is as you all already know by now.

What Went Wrong With the Narrative

Character development of the protagonist.

Indian cinema has a history of romanticizing bratty male protagonists. It’s one character we love to hate and then eventually love. I can count ten on my fingertips now- Rocky from KGF, Vijay Deverakonda in Arjun Reddy, Shahid Kapoor in Kabir Singh, Aditya Kapoor in Ishaqzaade….you get the drift. But Shiva from Kantara couldn’t be them because he could never evoke that sense of empathy in his audience.

Shiva was always vagrant, rude, or bullish. We were never aware of his inner warmth. Even his love affair was very crude; it wasn’t soft or had any sense of longing that people in love usually feel for their beloved. Although the film greatly deals with the man v. nature subject, and the romantic subplot was just on the side, that doesn’t warrant such a hurried progression of romance that hardly feels coherent.

Unlike other conventional heroes – he wasn’t fighting for a real cause. He was just fighting for momentary issues that would arise every now and again. That trivialized his role. That is probably why I, as an audience, never saw him as the ‘hero’ that the filmmakers have touted him to be.

Suggestive Harassment Scenes Between the Lead Characters

Now I think this is thin ice that I am treading over, and I might get a lot of backlash about this. But it just feels about time that I should say it out loud. We need to stop showing borderline harassment scenes under the pretext of romance. A country-wide audience watches it, including impressionable young boys. Pulling a dupatta off a woman, grabbing her arm to pull her closer, pulling her hair back to kiss her neck….IS NOT COOL. Especially if the woman is unsure (or is shying away). More so, if the relationship is new most times, women can’t say no, and they generally ‘go with the flow’ only to pay for therapy later. It’s time we did away with this trope. 

No Motive for Secondary Characters

Some characters are just created to mislead the audience- like Murali (the Forest Officer). He has undue resentment. You will want to ask, what’s the cause of all this anger? There is none. There are hints of his enormous ego that might clash with his work, but that isn’t enough. To target a person and then go after him needs a better motive. The audience feels all the more cheated at the end when he abruptly decides to make up and becomes a good samaritan. How? I ask. And why? What is the trigger? Again, there is no answer.

Another deceptive character is the minister’s differently-abled son. I ask what the reason for creating a complicated character is. In one scene, the minister narrates his ill-doings to his son just because he can’t understand. But that could have been a monologue or a thought-to-self sequence. In short, there are a lot of unjustified distractions in the film that doesn’t serve any purpose in the narrative.

Uneven Pace & Weak Climax

The film starts at a breakneck pace- the first 15 min probably impart most of the information and set the stage correctly. Several jovial segments follow it like Shiva goofing around, Murali being a mean police officer, Shiva’s mother berating him, etc. Post-interval sequences are monotonous and tedious. At one point, you get sick of Shiva yelling and shouting and will question yourself when the climax comes.

At last, when the climax does come, it is weak and uninteresting. Shiva has to avenge the death of his cousin and fight for the safety of his land. A very long sequence of Shiva resurrecting to life in the form of a demigod becomes a mockery because of the emanating sounds from his mouth. And when it all does end, you certainly won’t feel the ‘wow’ factor. Also, lately, we have gotten into the habit of open-ended stories. I suggest we refrain from just falling into the trap just because it’s a trend.

What Worked for Kantara

Having said that, the film also wasn’t without its good and had its fine redeeming moments. Movies shot in southern India have a quintessential rustic yet beautiful vibe, and Kantara is no different. It’s shot against drop-dead gorgeous scenery and boats of a scintillating color palette. The jungle, waterfalls, and village speak to the camera like living beings.

The filmmakers have also done a fantastic job shooting the action sequences- they are so well-rehearsed and choreographed that they look poetic. Kudos to the team for shooting each fight scene differently. This one sequence is shot from the POV of Shiva when he is high on substance. That is especially brilliant. The color correction and post-production also deserve special mention for painting those vivid images on the screen that almost looked real.

Kantara Movie Ending, Explained: 

Not a lot remains to be explained after all that commenting. But I will just go ahead and summarize for anyone who wishes to read further. Shiva was unaware of his purpose in life unless he was made to realize it. He always saw nightmares of the boar, which was a form of the demigod, which in turn was his father. Maybe his father was trying to communicate to him through his dreams so he could realize his actual purpose and take his place as the righteous demigod for the village.

But after Shiva died, he was resurrected only so he could fulfill the cause of his being. The ring of fire where the demigod vanishes for the first time is always a recurring theme in the film, trying to remind Shiva of his actual duties. After he realizes it and leads the ‘Kola’ customs, he runs away to the same ring of fire to meet his predecessor. Since the demigods are supposed to serve the villagers and keep them safe, their purpose in life ends there. Another problem will lead to the birth of another demigod, and so on. 

Hence, when Shiva reaches the ring of fire, he comes face to face with Punjarli (the God), which could possibly be his father. And they both disappear because they have fulfilled their cause… until next time. The very last scene also shows Shiva’s son listening to the story. Maybe the riveting success of the film nudges the filmmakers for a sequel. 

Related Article: Jallikattu [2019] Review: How Masculinity Is Rendered Fragile With Its Volatility

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KANTARA MOVIE REVIEW CLICK TO RATE THE MOVIE

Kantara is a film written and directed by Rishab Shetty and produced by Vijay Kirangandur under the banner Hombale Films. The film has Rishab Shetty himself playing the lead role alongside Sapthami Gowda, while Achyuth Kumar and Kishore play supporting roles among others. The music is composed by Ajaneesh Lokanath, while the cinematography is by Aravind S Kashyap.

In the year 1847, a king made a deal with the god that he would give some of his forest land to the tribals in exchange for prosperous living. If the king breaks the deal, it would lead to invoking the wrath of the god. Cut to 1970, a landlord who is a part of the king's family, wants to take back the lands and it results in the god cursing him, and he dies immediately, the same way the god had predicted.

Now the year is 1990, and the landlord's son (played by Achyuth Kumar) is a respectable figure in the village, while forest officer Murali takes charge to retrieve the forest back from the villagers. Murali's nemesis is Shiva (played by Rishab Shetty), and they keep getting involved in ego clashes frequently. However, things are not what meets the eye, and the rest of the film is about the power play between Shiva, Murali, and landlord Devendra Suttooru.

There are two things very important for a film to work completely. Firstly, it needs a banger of an opening scene to grab the audience's attention immediately, and a top notch climax that makes the audience forget the flaws of the film and go back home with takeaways and memories. Kantara ticks both these boxes rightly.

The climax in special is a mindblowing concoction of Rishab Shetty's acting masterclass, Ajaneesh Lokanath's grand music, Aravind Kashyap's colours and lighting, and Rishab Shetty's writing. Rishab Shetty who doubles up as Writer-Director and Actor understands his character so well. He infuses mythology with present day elements, adds a bit of politics, and treats it in a contemporary style.

There is a ritual called Bhootha Kola that's shown in the film. It involves a folk performance by a person from the village. There are multiple instances of the same in the film. Midway through the first half, Swaraj Shetty plays the role of the performer, while in the climax, Rishab Shetty assumes that role. The differences in their treatment of the character are starkly different, and that stands testament to how excellent an actor Rishab is.

While the film has exemplary music, cinematography and everything, it is hard to stop talking about the third act where Rishab Shetty turns into a beast... quite literally. Apart from him, Kishore is quite restrained as a forest officer and Achyuth Kumar gets the cunning nature of Devendra Suttooru really well. In short, it is rare to see a film that gets the writing, acting, and technical aspects right, and at the same time remain rooted. Kantara is one such rare gem.

It would be a grave crime to call Kantara a film and reduce it to a video that played inside the cinema hall for two-and-a-half hours. It is something much more grand, rooted, and explains to the audience what the difference is between 'cinema' and 'a film'. Kantara has so many moments of cinematic brilliance spread throughout the run time.

BEHINDWOODS REVIEW BOARD RATING

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

KANTARA NEWS STORIES

கன்னடத்தில் பட்டைய கிளப்பும் 'காந்தாரா'.. படம் பார்த்த பின் நடிகர் தனுஷ் வைரல் ட்வீட்!

இந்திய அளவில் ரசிகர்களை கவரும் "காந்தாரா".. வெளியான மிரட்டலான தமிழ் டிரெய்லர்!

சூப்பர் ஹிட்டடித்த KGF தயாரிப்பாளரின் 'காந்தாரா' திரைப்படம்..தமிழில் ரிலீசாகுதா? எப்போ?

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Kantara: a cultural turning point for indian cinema.

As we speak, the cinegoers of India are in the midst of an intense experience for which they were not prepared. A movie, made in a language spoken by a fraction of the population, representing the traditions of few districts within that population, made with very few known faces – with very less collective experience, has captured the imagination of an entire nation. It is an imagination that is hardly supported in mainstream art and narrative. Yet, even to people who are forced to move away from that imagination, it is so familiar and deep within their consciousness that a single stroke from this movie has sprung a fountain of it. Here, we present a small summary of its artistic and cultural achievement – which is still in the making and process. The real impact can only be assessed when it has run its due course.

The First A chievement : With this movie, our traditions, our dEvatAs, and our sense of sacredness are back into mainstream cinema. We had lost them for a few decades even in the Kannada industry, while some other industries had moved away right from the beginning. With Kantara, we have brought them with a bang – right into the sanctum sanctorum of the Cinema – as an integral part of the plot, narration & essence of the piece, rather than being an also present element of the cinema. The Daiva is not just back but the Daiva itself is the cinema.

The Second A chievement : This reformation of the cinema contributes in both the substance and the form. With Kantara, we have regained independence from ‘Realism’ as the primary form of telling a story. We have, of course, had our ‘Nagins’ & Magadheera-s. But our non-realism cinema merely limited themselves to fantasy & entertainment. They were shy attempts. Kantara, though, is an unabashed foregrounding of the Indian form of storytelling and narrative. The Myth merges with the Real. The resulting Visual storytelling form is a universal one that is relevant to all kinds of stories – rather than a limited set called fantasy limited for entertainment. Kantara presents a form of storytelling where the Myth is not a separate genre. Rather it is another real experience one that elevates the mundane physical reality.

The T hird A chievement : Kantara has brought back the Deseeya – the folk - to the national centre-stage. It is a triumph of the Deseeya form. What Bahubali 1&2 were for the Margeeya - the Classical, Kantara is for the Deseeya - the Folk. Bahubali could have happened anywhere in Bharatavarsha at any point in time. But Kantara’s physical co-ordinates are marked to a few districts around coastal Karnataka. But there is an additional achievement. The Deseeya in the movie touches the Margeeya at its core & peak. Panjurli Daiva, Guliga, Folk Dance, Sanskrit & Classical Music are together. The Deseeya speaks the language of Margeeya ( Dharma ) seamlessly in the movie. This demonstration of the seamless co-existence of the two, one reaching the other at its peak, is another phenomenal achievement. Importantly, this is not done forcefully or ideologically or with a political intention that is apparent. It just comes out as the presentation of a matter of factly reality and without disturbing the artistic integrity of the movie.

The Fourth A chievement : In the last 300 years, India has seen many historical conflicts flowing through its time-line. The cycle of conflict-resolution-synthesis is in a mighty repetition. Kantara presents one such grand Civilizational/Cultural conflict going through a very simple story. The movie is about two conflicts

• A forest community and its clash with Modernity, the State and the dynamic of Progress/Development.
• A conflict within the forest community between Greed (Artha, Kama) and the Divinity (Dharma/Moksha) within the culture.

The achievement is in presenting this conflict, in its multifacetedness and complete cycle, through a very simple story. This is a typical genius of our Janapada form. All participants in this conflict go through a complex journey and a transformation. The emerging metaphors the movie captures are fascinating. The forest community hates the intervention of the State, represented by the forest officer. The forest officer duty-bound to perform certain duties is detests their obstruction. Both do not understand each other’s intentions and potentials. Rather, both see each others’ methods and performances as detrimental and having bad intentions. In addition, the forest officer is taught by Modernity to look down upon the traditions of the forest community - ideologically. Yet, the forest community is unable to see the evil within to which they have submitted themselves. It can only do so with support from the forest officer. The forest officer too progresses in his objective only with the support of the forest community. Yet, this whole process is set forth by the Daiva itself. It is the active invocation of the Daiva by the forest community and the eventual recognition of its power by the forest office that creates a resolution and the way forward - presented with cinematic brilliance in the last few scenes of the movie. That this complex narrative does not result in an ideological or political excess in the movie harming the aesthetic experience of the movie - is another additional achievement in this context. This is a grand criticism of both the Modern Secular State and a recognition of the traditional community’s necessity to move forward by engaging with Modernity.

Kantara is a simple Folk Story but an extraordinarily rich detail that will shame a modern anthropologist. It's amazing that so much detail can be packed into a single movie while using every detail to present a dimension of the story. This is indeed a literary & visual achievement. Explaining this in a minute detail will make a longer essay. The whole movie is shot within a few square kilometres. All innovation/investment is towards set making for every scene. It involves no foreign travel, no grand localing and unnecessary expenditure. There may be VFX and other technology. But it is so invisible and is not a selling point of the movie, in spite of ticking all boxes of a fantasy. This is such an emancipation for future makers. This is the right paradigm of creating a piece of art - technology must be subservient to art and culture.

From the making stand-point, Kantara shines in every department of the craft - Acting, Cinematography, Editing, Music, Script, Lyrics, Dance - literally everything. But the critical  difference lies in three elements

• The confidence to pick such a subject
• To have the right cultural vision and perspective
• To be able to craft that into a cinema and direct it to the last detail

That's the phenomenal achievement of Rishab Shetty. He has shown the potential of being a good artist in his previous movies. But, with Kantara, he has achieved that ‘‘hanumad-vikAsa हनुमदविकास’. He has leapt into the sky and reached another orbit of cinema.

The execution ticks many boxes of a well-made-movie. Every single character in the movie contributes to the whole in a unique way. Nobody is more/less important except the protagonist himself. The lead actress is not a property unlike in many movies. She has a distinct personality and plays a role in the transformation of the protagonist and the community. She goes through her own crisis in the process. Characters largely silent also make a difference to the movie. Their silences play a part in the larger narrative and cinematic experience the movie creates. All other prominent and minor roles are all well etched, of course. They undergo their own transformation in the due course of the movie. The movie is a definite triumph of characterisation.

Acting is just absolutely brilliant in the movie. Rishab deserves an extra dose of credit for having extracted such good performances from so many different characters even as he himself has essayed the role of his life. Sapthami Gowda is perfectly cast in her role presenting a quick journey from innocence to responsibility.  Protagonist’s brother Guruva depicts the Kola performer’s sense of sacredness in every appearance with almost no dialogues. Veteran actor Achyut Kumar deserves all the hate - such a Villain. Kishore, the police officer, personifies the blind arrogance of the Modern State. The young Manasi Sudhir stunningly essays the role of an aged mother who has seen all the rough sides of a tough life.

Once again Ajaneesh Lokanath impresses in the Music - both in songs and in the background. Ever since he erupted onto the silver screen through ‘uLidavaru kaMDaMte’ he has retained the ability to spring a surprise and present something unforgettable. The whole music is a great fusion of traditional, classical, folk and new modern instruments and style. This fusion itself is another significant feat of the movie. Two main songs are both brilliant. Throughout, every scene has an understated but culturally fitting music. Extraordinary orchestration of Kola, Folks Songs. The folk and the classical co-exist even in the movie subtly emphasizing the subject of the movie. It is no exaggeration to say that the music itself is another character in the movie.

After Direction, if there was one department with equal complexity it was Editing. A good script can be destroyed on the editing table. In Kantara, the editing department may have triumphed as much as the Script and Direction. It has resulted in the movie having multiple textures at once - at once a story, a visual, a documentary, a musical, action, fantasy. So much detail, so many forms, so many elements drawn from a rich life and culture. All scenes well knit into a brilliant overall movie. Finally, the movie looks like one monolith in spite of such diversity in scenes, rhythms and so on.

People in the language department too deserve a call-out. The language used in the Script, Dialogues, Lyrics - beautiful Kannada/Tulu from Coastal Karnataka with a Kundapura flavour I guess. The literature of the script is aesthetically brilliant. When an English word comes it plays a role to depict an aspect of the character/community. Otherwise, its a great mix of Tulu, Kannada, Sanskrit to depict the reality of the situation. It all looks like a single language. The acoustic experience of the movie is elevated by the sound of its language.

While the diversity challenge was high in Editing, I would still single out Cinematography for a special appreciation. For this movie with all its traditional, folk, forest, local detail, diverse elements, Divine experiences, the kind of action it has, innovative Cinematography was needed. Finally, it wins because it offers a Divine experience which is central to the subject of the movie. This is not achieved in isolation – It does so throughout.

Finally, if there is excellence in so many departments of a movie - it is the director who deserves a call-out. It is Rishab Shetty all the way. It's his Vision, Direction, Script and Acting. A performance of his life - with Shraddha & Sanskriti, of Authenticity, Devotion, Sense of Purpose. Metaphorically speaking, through this movie, he has truly fulfilled his Pitr Rna, Daiva Rna, Samaja Rna. He has brought back a civilizational fundamental into the centre-stage of cinema. The movie stands-out for two reasons - Excellence & Authenticity. The latter is a consequence of the lived experiences of Rishab (& his team). It has made a difference to his life and possibly a few others in the movie. They have made this movie first for themselves & then for the audience.

Thus, Kantara is a grand case for Business subservient to Culture.

The Cultural Importance of Kantara

While being a great piece of art, Kantara is very important for us culturally and civilizationally as well. It brings back a mighty confidence in the Local. It demonstrates that the local in India touches the universal - artistically and in business. The subject of the movie is both ‘Unity in Diversity’ & ‘Diversity in Unity’ at once. The former is bottom-up and the latter is top-down. We are a philosophy that actively seeks and drives diversity. We are a philosophy that recognizes diversity and weaves it into the whole.

The movie represents both phenomenon in its substance and form. In its business success, it represents the former. It shows that the Diversity never comes in the way of Unity. Across India people are watching it either in its dubbed form or in Kannada with subtitles - with appreciation. This brings back the confidence in the local - be Local in your substance. You can still be universal in relevance. Make a movie about a small corner of the universe without inferiority, atrocity but present its cultural essence, beauty & perspective. Kashi will love a story from Kundapura.

It completely alters the way of storytelling as we have seen the modern mainstream. The Story has elements from Fantasy, Puranas, Realism, Musical, Exaggeration, Visual, Folk & Classical. It is a phenomenal artistic achievement weaving into a form to tell a Contemporary Story with a sense of Past, Present and Future. This is how India always tells a story if one reads classical literature such as Kadambari of Banabhatta or Kathasaritsagara. That form of storytelling is now back. This results in the experience of Time as a seamless continuous flow. Thus the movie achieves another civilizational differential - the Saatatya - a unity of Time rather than isolating the past, present and future.

Kantara demonstrates in its subject and experience that Divinity is an integral part of our lives. Keeping Divinity away from our art forms we have impoverished our artistic products as well as our lives. In this aspect, Kantara is one big leap in the grand journey of Decolonization - without using that word - a nudge for us to use our own Lenses. This needs no special explanation if one has gone through the last 20 minutes of the movie. It is no exaggeration to say that it is a cinematic first for India. Rishab becomes the character he portrays. The audience lose their sense of separation from the cinema, the forest community, the story and the very Time. This is typically achieved in our Janapada art forms. But it is an absolute rarity in cinema. It is an absolute first experience of Transcendence in a modern art form - attested by nearly everybody in some form or the other. This is without a parallel. Its Divinity & Transcendence without exaggeration. It performs cathartic correction in your mind and creates a beautiful silence. Most people have reported that the audiences simply leave the theater quietly not wanting to disturb their silences - for that is too rare an artistic experience in our times.

Kantara is just that one thing that I have longed for forever in a movie without being aware of it. Hopefully, this cathartic correction, takes our cinema, art in a different direction and flows into other aspects of our civilizational spaces.

Feature Image Credit: cinemaexpress.com

The T hird A chievement : Kantara has brought back the Deseeya – the folk – to the national centre-stage. It is a triumph of the Deseeya form. What Bahubali 1&2 were for the Margeeya – the Classical, Kantara is for the Deseeya – the Folk. Bahubali could have happened anywhere in Bharatavarsha at any point in time. But Kantara’s physical co-ordinates are marked to a few districts around coastal Karnataka. But there is an additional achievement. The Deseeya in the movie touches the Margeeya at its core & peak. Panjurli Daiva, Guliga, Folk Dance, Sanskrit & Classical Music are together. The Deseeya speaks the language of Margeeya ( Dharma ) seamlessly in the movie. This demonstration of the seamless co-existence of the two, one reaching the other at its peak, is another phenomenal achievement. Importantly, this is not done forcefully or ideologically or with a political intention that is apparent. It just comes out as the presentation of a matter of factly reality and without disturbing the artistic integrity of the movie.

The achievement is in presenting this conflict, in its multifacetedness and complete cycle, through a very simple story. This is a typical genius of our Janapada form. All participants in this conflict go through a complex journey and a transformation. The emerging metaphors the movie captures are fascinating. The forest community hates the intervention of the State, represented by the forest officer. The forest officer duty-bound to perform certain duties is detests their obstruction. Both do not understand each other’s intentions and potentials. Rather, both see each others’ methods and performances as detrimental and having bad intentions. In addition, the forest officer is taught by Modernity to look down upon the traditions of the forest community – ideologically. Yet, the forest community is unable to see the evil within to which they have submitted themselves. It can only do so with support from the forest officer. The forest officer too progresses in his objective only with the support of the forest community. Yet, this whole process is set forth by the Daiva itself. It is the active invocation of the Daiva by the forest community and the eventual recognition of its power by the forest office that creates a resolution and the way forward – presented with cinematic brilliance in the last few scenes of the movie. That this complex narrative does not result in an ideological or political excess in the movie harming the aesthetic experience of the movie – is another additional achievement in this context. This is a grand criticism of both the Modern Secular State and a recognition of the traditional community’s necessity to move forward by engaging with Modernity.

Kantara is a simple Folk Story but an extraordinarily rich detail that will shame a modern anthropologist. It’s amazing that so much detail can be packed into a single movie while using every detail to present a dimension of the story. This is indeed a literary & visual achievement. Explaining this in a minute detail will make a longer essay. The whole movie is shot within a few square kilometres. All innovation/investment is towards set making for every scene. It involves no foreign travel, no grand localing and unnecessary expenditure. There may be VFX and other technology. But it is so invisible and is not a selling point of the movie, in spite of ticking all boxes of a fantasy. This is such an emancipation for future makers. This is the right paradigm of creating a piece of art – technology must be subservient to art and culture.

From the making stand-point, Kantara shines in every department of the craft – Acting, Cinematography, Editing, Music, Script, Lyrics, Dance – literally everything. But the critical  difference lies in three elements

That’s the phenomenal achievement of Rishab Shetty. He has shown the potential of being a good artist in his previous movies. But, with Kantara, he has achieved that ‘‘hanumad-vikAsa हनुमदविकास’. He has leapt into the sky and reached another orbit of cinema.

Acting is just absolutely brilliant in the movie. Rishab deserves an extra dose of credit for having extracted such good performances from so many different characters even as he himself has essayed the role of his life. Sapthami Gowda is perfectly cast in her role presenting a quick journey from innocence to responsibility.  Protagonist’s brother Guruva depicts the Kola performer’s sense of sacredness in every appearance with almost no dialogues. Veteran actor Achyut Kumar deserves all the hate – such a Villain. Kishore, the police officer, personifies the blind arrogance of the Modern State. The young Manasi Sudhir stunningly essays the role of an aged mother who has seen all the rough sides of a tough life.

Once again Ajaneesh Lokanath impresses in the Music – both in songs and in the background. Ever since he erupted onto the silver screen through ‘uLidavaru kaMDaMte’ he has retained the ability to spring a surprise and present something unforgettable. The whole music is a great fusion of traditional, classical, folk and new modern instruments and style. This fusion itself is another significant feat of the movie. Two main songs are both brilliant. Throughout, every scene has an understated but culturally fitting music. Extraordinary orchestration of Kola, Folks Songs. The folk and the classical co-exist even in the movie subtly emphasizing the subject of the movie. It is no exaggeration to say that the music itself is another character in the movie.

After Direction, if there was one department with equal complexity it was Editing. A good script can be destroyed on the editing table. In Kantara, the editing department may have triumphed as much as the Script and Direction. It has resulted in the movie having multiple textures at once – at once a story, a visual, a documentary, a musical, action, fantasy. So much detail, so many forms, so many elements drawn from a rich life and culture. All scenes well knit into a brilliant overall movie. Finally, the movie looks like one monolith in spite of such diversity in scenes, rhythms and so on.

People in the language department too deserve a call-out. The language used in the Script, Dialogues, Lyrics – beautiful Kannada/Tulu from Coastal Karnataka with a Kundapura flavour I guess. The literature of the script is aesthetically brilliant. When an English word comes it plays a role to depict an aspect of the character/community. Otherwise, its a great mix of Tulu, Kannada, Sanskrit to depict the reality of the situation. It all looks like a single language. The acoustic experience of the movie is elevated by the sound of its language.

Finally, if there is excellence in so many departments of a movie – it is the director who deserves a call-out. It is Rishab Shetty all the way. It’s his Vision, Direction, Script and Acting. A performance of his life – with Shraddha & Sanskriti, of Authenticity, Devotion, Sense of Purpose. Metaphorically speaking, through this movie, he has truly fulfilled his Pitr Rna, Daiva Rna, Samaja Rna. He has brought back a civilizational fundamental into the centre-stage of cinema. The movie stands-out for two reasons – Excellence & Authenticity. The latter is a consequence of the lived experiences of Rishab (& his team). It has made a difference to his life and possibly a few others in the movie. They have made this movie first for themselves & then for the audience.

While being a great piece of art, Kantara is very important for us culturally and civilizationally as well. It brings back a mighty confidence in the Local. It demonstrates that the local in India touches the universal – artistically and in business. The subject of the movie is both ‘Unity in Diversity’ & ‘Diversity in Unity’ at once. The former is bottom-up and the latter is top-down. We are a philosophy that actively seeks and drives diversity. We are a philosophy that recognizes diversity and weaves it into the whole.

The movie represents both phenomenon in its substance and form. In its business success, it represents the former. It shows that the Diversity never comes in the way of Unity. Across India people are watching it either in its dubbed form or in Kannada with subtitles – with appreciation. This brings back the confidence in the local – be Local in your substance. You can still be universal in relevance. Make a movie about a small corner of the universe without inferiority, atrocity but present its cultural essence, beauty & perspective. Kashi will love a story from Kundapura.

It completely alters the way of storytelling as we have seen the modern mainstream. The Story has elements from Fantasy, Puranas, Realism, Musical, Exaggeration, Visual, Folk & Classical. It is a phenomenal artistic achievement weaving into a form to tell a Contemporary Story with a sense of Past, Present and Future. This is how India always tells a story if one reads classical literature such as Kadambari of Banabhatta or Kathasaritsagara. That form of storytelling is now back. This results in the experience of Time as a seamless continuous flow. Thus the movie achieves another civilizational differential – the Saatatya – a unity of Time rather than isolating the past, present and future.

Kantara demonstrates in its subject and experience that Divinity is an integral part of our lives. Keeping Divinity away from our art forms we have impoverished our artistic products as well as our lives. In this aspect, Kantara is one big leap in the grand journey of Decolonization – without using that word – a nudge for us to use our own Lenses. This needs no special explanation if one has gone through the last 20 minutes of the movie. It is no exaggeration to say that it is a cinematic first for India. Rishab becomes the character he portrays. The audience lose their sense of separation from the cinema, the forest community, the story and the very Time. This is typically achieved in our Janapada art forms. But it is an absolute rarity in cinema. It is an absolute first experience of Transcendence in a modern art form – attested by nearly everybody in some form or the other. This is without a parallel. Its Divinity & Transcendence without exaggeration. It performs cathartic correction in your mind and creates a beautiful silence. Most people have reported that the audiences simply leave the theater quietly not wanting to disturb their silences – for that is too rare an artistic experience in our times.

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Shivakumar G V is 'Director - INDICA (Guru-Saadhaka Sachiva). His responsibilities focus on INDICA’s critical mission to cultivate leadership. He guides initiatives to serve Gurus, Read more

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South Indian Crime Thrillers on OTT: Kantara, Drishyam & More

T here is indeed a separate fanbase for South Indian crime thrillers . Whether made on a heavy or a small budget, several content-driven movies have become massively successful at the box office. With brilliant writing and scenes that leave the audience on the edge of their seats, these films are still enjoyed by many. From Kantara and Drishyam to the KGF film franchise , the list of many South Indian crime thrillers on OTT is below:

The 2022 Kannada movie Kantara became a pan-India hit overnight. Made on a budget of about $1.9 million, the film is the second highest-grossing Kannada movie ever. Rishab Shetty starred in the film and also directed and co-wrote it. It is, to date, one of the most lauded and unique South Indian crime thrillers.

Kantara follows the story of a tribal community, their rights, beliefs, and troubles with the state. The movie’s official synopsis reads, “A fiery young man clashes with an unflinching forest officer in a south Indian village where spirituality, fate, and folklore rule the lands.”

The film received positive reviews and a lot of praise. Its prequel, Kantara: Part 1, is currently being made. The film’s Hindi and English versions are available to stream on Netflix, and its Kannada, Malayalam, Telugu, and Tamil versions are on Amazon Prime Video.

The 2013 Malayalam film Drishyam was critically acclaimed. The Mohanlal starrer is undoubtedly one of the most loved South Indian crime thrillers of all time. Written and directed by Jeethu Joseph, the movie has been recreated in several languages, including Telugu, Tamil, Hindi, and Mandarin.

The movie follows the story of George Kutty, who leads a happy life with his wife and daughters. However, his peaceful abode is disrupted when a boy troubles his adopted daughter.

The movie’s unexpected twists and turns due to an accidental crime intrigue the audience. As it is still one of the most beloved movies for crime thriller enthusiasts, it is available on DisneyPlus Hotstar and YouTube.

KGF: Chapter 1

KGF: Chapter 1 changed the dynamic of Kannada cinema in 2018. Written and directed by Prashanth Neel, the movie’s overnight success was commendable. Yash, who played the lead role of Rocky, also became a pan-India star with the movie’s release.

The movie’s story is set against the backdrop of Kolar Gold Fields, a brutal place situated in South India. It also explores the gangster culture of India in the 1970s.

With its massive action and crime with a hint of drama and emotion, the film received positive remarks from both the audience and critics. It is currently available to watch on DisneyPlus Hotstar.

KGF: Chapter 2

The Yash-starrer’s sequel KGF: Chapter 2 began from where the previous movie left off. It welcomed more celebrated actors, including Bollywood stars Sanjay Dutt and Raveena Tandon, who played crucial roles.

As the film franchise expanded with the 2022 movie, it became even bigger and the highest-grossing Kannada movie of all time. The film is available to watch on Amazon Prime Video in multiple languages.

Salaar: Part 1 – Ceasefire

Prashanth Neel’s latest creation, Salaar: Part 1 – Ceasefire, was among the most successful movies of 2023. Starring Prabhas in the lead role, the film also saw an ensemble cast, including Prithviraj Sukumaran, Shruti Haasan, and Jagapathi Babu. The film was produced with a substantial budget, and a sequel is currently in development.

Its official synopsis reads, “The fate of a violently contested kingdom hangs  on  the fraught bond between two friends-turned-foes in this saga of power, bloodshed and betrayal.”

The movie’s Hindi version is available on DisneyPlus Hotstar. On the other hand, it is available to stream in Telugu, Kannada, Malayalam, Tamil, and English on Netflix.

Veteran actor Kamal Haasan’s 2022 film Vikram is among the highest-grossing movies in Tamil cinema. Helmed by Lokesh Kanagaraj, the movie follows a murder investigation that leads to a web of crimes by a drug cartel. It also stars Fahadh Faasil and Vijay Sethupathi in crucial roles.

The celebrated movie is available to stream on DisneyPlus Hotstar.

In conclusion, there is a plethora of star-studded South Indian crime thrillers on various OTT platforms. They can make a perfect watch for weekends.

The post South Indian Crime Thrillers on OTT: Kantara, Drishyam & More appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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Kantara Chapter 1: First look of Rishab Shetty film's prequel to be out on this date

Kantara Chapter 1 will go on floors with the Muhurat Pooja, which is ready to commence on November 27th

Hombale Films action thriller Kantara arrived on the big screen and went on to create examples of its success. The film brought a divine and soulful story from the heartlands of India and touched the hearts of the millions. Ever since then, the craze of Kantara kept rising among the audience that went to new heights when the makers announced its next part. Now, the makers have come with the most awaited update of the film, its title, which is going to be Kantara Chapter 1.

Continuing the legacy of the film, the makers have taken everyone by surprise as they made an absolutely massive announcement of the prequel of Kantara , which is officially titled ‘Kantara - Chapter 1’

ಪ್ರತಿ ಕ್ಷಣವೂ ದೈವಿಕ ಸ್ಪರ್ಶವನ್ನು ಅನುಭವಿಸುವ ಜತೆ ಇತಿಹಾಸದ ನಿಗೂಢ ಸತ್ಯವನ್ನು ಅನ್ವೇಷಿಸಿ. ಹಿಂದೆಂದಿಗೂ ನೋಡದ ವಿಸ್ಮಯವನ್ನು ಕಣ್ತುಂಬಿಕೊಳ್ಳಲು ಕಾತುರರಾಗಿ. ಇದು ಬರಿ ಬೆಳಕಲ್ಲ, ದರ್ಶನ 🔥 Step into the sacred echoes of the past, where divinity weaves through every frame. Stay enchanted for a glimpse into… pic.twitter.com/jiuwyqQRaP — Hombale Films (@hombalefilms) November 25, 2023

Sharing the grand announcement of the film on social media, the makers also gave an update about its first look release and also the film will be a “Pan-World” release in Hindi, Tamil, Telugu, Kannada, Malayalam, Bengali and English.

The makers wrote, “Step into the sacred echoes of the past, where divinity weaves through every frame. Stay enchanted for a glimpse into the unseen!

’ , '

#KantaraChapter1 First Look on Nov 27th at 12:25 PM.

@shetty_rishab @VKiragandur @hombalefilms @HombaleGroup @AJANEESHB @KantaraFilm”

The announcement made by the production house is sure to take the audiences on a huge treat as ‘Kantara’ had taken the global audiences by storm, and they hailed the film for its storytelling, performances, editing, and divine music. While the film explored humans’ connection with God, it went on to become one of the biggest blockbusters.

Besides this aspect, the intense climax of the film has a special place in audiences’ hearts and the never-before-seen before avatar of Rishab Shetty shooked the nation. The 25 minutes pre long climax sequence absolutely raised the bar high for Indian Cinema and with the prequel arriving, the expectations are sky high from the film.

‘ Kantara Chapter 1 will go on floors with the Muhurat Pooja, which is ready to commence on November 27th. A grand and massive set is being constructed for the film, where actor-director Rishab Shetty, producer Vijay Kiragandur, and the other cast and crew will be present. Following the muhurat pooja, the makers will kick off the principal photography for the film in December, and the rest of the cast will be announced in due time.

Meanwhile, Hombale Films is ready to take audiences on an action-packed ride with the much-awaited Salaar: Part 1 Ceasefire , which brings the powerhouse Prashanth Neel and Prabhas together. The film will be released worldwide on December 22, 2023.

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