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• ಮನೋರಥಂಗಳ್: ಅಪ್ಪಟ ದೇಸಿ ಸೊಗಡಿನ ದೃಶ್ಯಕಾವ್ಯ

ಝೀ5ನಲ್ಲಿ ಸ್ಟ್ರೀಮ್ ಆಗುತ್ತಿರುವ ಮನೋರಥಂಗಳ್ ಮನ ಮುಟ್ಟುವ ಕಥೆಗಳ ದೃಶ್ಯಕಾವ್ಯ. ಒಂಬತ್ತು ಕಥೆಗಳಿರೋ ಈ ಸಂಕಲನದಲ್ಲಿ ಮಲಯಾಳಂ ಸಾಹಿತ್ಯ ದಿಗ್ಗಜ ಎಂ.ಟಿ.ವಾಸುದೇವ ನಾಯರ್ ಅವರ ಮನಮೋಹಕ ಕಥೆಗಳಿವೆ. 

• ಕೊರಿಯನ್ ಮೂಲದ ಮಾರ್ಷಲ್ ಆರ್ಟ್, ಸ್ಫೂರ್ತಿ ತುಂಬುವ ಚಿತ್ರ ಟೇಕ್ವಾಂಡೋ ಗರ್ಲ್

• Laughing Buddha Review: ಚಾಪ್ಲಿನ್ ಶೈಲಿಯಲ್ಲಿರುವ ದಢೂತಿ ಪೊಲೀಸ್ ಕಾನ್‌ಸ್ಟೇಬಲ್ ಕತೆ 'ಲಾಫಿಂಗ್ ಬುದ್ಧ'

• Pepe Film Review: ರಕ್ತಸಿಕ್ತ ಅಧ್ಯಾಯದ ಹೆಸರೇ ಪೆಪೆ: ಟೂ ‘ಮಚ್ಚು’ಗಳ ವಿನಯ್‌ ರಾಜ್‌ಕುಮಾರ್‌

• ಮಗಳನ್ನು ಬಲೆಗೆ ಬೀಳಿಸಿದ 'ಸೈತಾನ್': ಮನಸ್ಸನ್ನು ವಶಕ್ಕೆ ಪಡೆದು, ತನ್ನಿಷ್ಟದಂತೆ ಕುಣಿಸುವ ಶೈತಾನ

C Kannada Movie Review: ಮಗಳ ಕಣ್ಣೋಟಕ್ಕೆ ಅಪ್ಪನ ಹೋರಾಟ

ಮಹಾರಾಜ ರಿವ್ಯೂ, ಆಧ್ಯಾತ್ಮಿಕ ಗುರು ಜೆಜೆಯದ್ದೇ ಆಳ್ವಿಕೆ: ನಂಬಿಕೆ ವಿರುದ್ಧ ಪತ್ರಕರ್ತನ ಹೋರಾಟ!

ರಾಮ್ ಚರಣ್ ಮೆಗಾ ಹೀರೋ ಎಂದು ಹಾಡಿ ಹೊಗಳಿದ ಫ್ರೆಂಚ್‌ ನಟ ಬ್ರಾವೋ!

krishnam pranaya sakhi ಸಿನಿಮಾದಲ್ಲಿ ಗಣೇಶ್ ಮಾಳವಿಕಾ ಪ್ರಣಯ ಹೇಗಿದೆ? ರಂಗಾಯಣ ರಘು ಪಾತ್ರದ ಕತೆ ಏನು?

Genius Mutta Movie Review: ಊಹೆಗೆ ನಿಲುಕುವ ಸಿಂಪಲ್‌ ಕಥೆ, ಸರಳ ನಿರೂಪಣೆ, ಸೋಲಿಗರ ಹುಡುಗ ಮುತ್ತ

Kabandha Film Review: ಭೂಮಿ ಕುರಿತು ಚಿಂತನೆ ಹುಟ್ಟಿಸುವ ಸಂದೇಶ ಭರಿತ ಹಾರರ್ ಶೈಲಿಯ 'ಕಬಂಧ'

Bheema Movie Review: ಒಳ್ಳೆಯತನಕ್ಕೂ ದುಷ್ಟತನಕ್ಕೂ ಮಧ್ಯದ ಹೋರಾಟ ಸಿನಿಮಾ ಭೀಮ

ಭಾರತದಲ್ಲಿ ರಿಲೀಸ್ ದಿನವೇ ಅತ್ಯಧಿಕ ಹಣ ಗಳಿಕೆ ಸಿನಿಮಾಗಳು ಯಾವುವು? ಬಾಲಿವುಡ್ ಮೀರಿಸಿದ ಕನ್ನಡ ಸಿನಿಮಾ!

ಶರ್ಮಾಜಿಕೀ ಬೇಟಿ: ಮಹಿಳಾ ಕೇಂದ್ರಿತ ಚಿತ್ರದ ಹೆಸರು ಮಾತ್ರ ಹೀಗೆ!

2024ರ ಟಾಪ್ 10 ಚಿತ್ರಗಳ ಪೈಕಿ 100 ಕೋಟಿ ಕ್ಲಬ್‌ಗೆ ಸೇರಿದ್ದೆಷ್ಟು?

Sanketh Film Review: ಕುತೂಹಲಕರ ವಿಭಿನ್ನ ಕಥಾನಕದ ಸಸ್ಪೆನ್ಸ್‌ ಥ್ರಿಲ್ಲರ್ 'ಸಾಂಕೇತ್‌'

ವಿಚ್ಛೇದನ ಬಯಸಿದ್ದ ಜೋಡಿ ಮತ್ತೆ ಒಂದಾದಾಗ: ದೋ ಔರ್ ದೋ ಪ್ಯಾರ್ ರಿವ್ಯೂ

Kenda Film Review: ನಿತ್ಯ ಬದುಕಿನ ಒಳ ಸುಳಿಗಳ ನೋಟಗಳು, ಅಲ್ಲೊಬ್ಬಳು ಇದ್ದಾಳೆ. ಆಕೆ ಯಾರು?

Family Drama Movie Review: ಗಮನ ಸೆಳೆಯುವ ಚಿತ್ರಕಥೆ, ಅಮೋಘ ನಟನೆ, ಮುಖಾಮುಖಿಯಾಗುವ ರೌಡಿಸಂ ಜಗತ್ತು

Raj B Shetty Film Review: ರೂಪಾಂತರದ ವಿಷಾದವನ್ನು ದಾಟಿಸಿರುವ ದೃಶ್ಯ ರೂಪಕ

Raktaksha Film Review: ಪ್ರತೀಕಾರದ ದಾರಿಯಲ್ಲಿ ಆಘಾತಕಾರಿ ಮಾಫಿಯಾ, ಪ್ರೇಕ್ಷಕ ಕೂಡ ಅಚ್ಚರಿ

2024ರಲ್ಲಿ ರಿಲೀಸ್ ಆಗಿ ಕನ್ನಡ ಚಿತ್ರರಂಗದ ಮರ್ಯಾದೆ ಉಳಿಸಲಿವೆಯೇ ಈ ಪ್ಯಾನ್‌ ಇಂಡಿಯಾ ಸಿನಿಮಾಗಳು?

8 AM Metro: ಒಂದು ಆತ್ಮಸಂಗಾತದ ಕಥೆಯ ಮೂವಿ ರಿವ್ಯೂ ಇದು

Hiranya Film Review: ಸಸ್ಪೆನ್ಸ್ ಥ್ರಿಲ್ಲರ್‌ ಅಖಾಡದಲ್ಲಿ ಭಾವುಕ ಕತೆ

ನಾಟ್‌ ಔಟ್‌ ಚಿತ್ರ ವಿಮರ್ಶೆ: ಶ್ರೀಸಾಮಾನ್ಯನ ಕಥೆಗೆ ಮಾನವೀಯತೆಯ ಸ್ಪರ್ಶ

ಚಿತ್ರವಿಮರ್ಶೆ: ವಿಷಾದ, ಬೆರಗು ಹುಟ್ಟಿಸುವ ಗಾಢ ಕತೆ ಹೆಜ್ಜಾರು

Vidyarthi Vidyarthiniyare Film Review: ಹಾದಿ ತಪ್ಪಿದವರಿಗೆ ಎಚ್ಚರಿಕೆಯ ಗಂಟೆ, ಕಾಣದ ಕೈಯೊಂದು ಆಟ

ಜಮೀನುದಾರರ ದೌರ್ಜನ್ಯ, ಪಾಳೆಗಾರರ ಅಟ್ಟಹಾಸ; ರಕ್ತದೋಕುಳಿ ಹರಿಸುವ ಮಿರ್ಜಾಪುರ್

Jigar Film Review: ಕುಲುಮೆಯಲ್ಲಿ ಹರಿದ ನೆತ್ತರಿಗೆ ಪಶ್ಚಾತ್ತಾಪ ನೆರಳು

Gullak Web Series Review: ನಮ್ಮ ಮಧ್ಯಮ ವರ್ಗದ ಬಾಲ್ಯ ನೆನಪಿಸೋ ಕಥೆ ಗುಲಕ್!

ನಮ್ಮ ನಿಮ್ಮ ಹಳ್ಳಿಯ ಕತೆ ಎನಿಸುವ ಪಂಚಾಯತ್: ಮಿಸ್ ಮಾಡಬಾರದ ವೆಬ್ ಸೀರಿಸ್

Movie Reviews (ಚಲನಚಿತ್ರ ವಿಮರ್ಶೆಗಳು): Asianet News Kannada brings the latest updates on Movie Reviews. Catch up with the upcoming movies trailers from Sandalwood, Mollywood, Bollywood, Kollywood and Hollywood industries. Get the latest trailers and reviews for the movies. Know about the movie story, genre, star cast, critics rating, movie critics and every little detail for it. Get the movie gossip, ಚಲನಚಿತ್ರ ಗಾಸಿಪ್, ಸಂಗೀತ ಆಲ್ಬಮ್, Music album, Story line, cinema rating, ಸಿನೆಮಾ ರೇಟಿಂಗ್, ಮೂವಿ ರೇಟಿಂಗ್, Movie Rating, ವಿಮರ್ಶಕರಿಂದ ವಿಮರ್ಶೆಗಳು, reviews from the critics, and much more online in Kannada.

‘Ibbani Tabbida Ileyali’ movie review: Heartwarming love story from Rakshit Shetty’s stable

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Stories of unrequited love and lost love have a larger impact emotionally than the ones that end on a happy note. Chandrajith Belliyappa explores both in Ibbani Tabbida Ileyali .

Sid (Vihan Gowda) who hasn’t been able to move on from his first love Anahita (Ankita Amar), calls off his wedding with Radha (Mayuri Nataraj). Then begins a series of flashbacks.

A younger short-tempered SId meets a timid Anahita at a college fest. It’s love at first sight but it takes him a while and a couple of challenges to meet her again and confess his love for her. However circumstances part them. It’s been seven years. After breaking his engagement with Radha, Sid decides to check on Anahita.

The film tries to explore if love for a person can still mean the same years after separation. The director presents two perspectives from two different generations. An old cab driver’s narration of his love story is one of the most beautiful and the most heart-warming sequences in the film. I think it has something to do with the charm of old school romance.

Vihan and Mayuri Nataraj in the film.

Credit: Paramvah Studios

With Ibbani… , Kannada love stories seem more evolved. Sid has the traits of your typical commercial film hero. He’s short-tempered. He beats people up. But he also respects the boundaries Anahita sets for him.

When she says he is making her feel uncomfortable, he backs off, unlike most films — released over a period of time — that have had the hero stalking the heroine and making her feel more uncomfortable before she falls in love with his toxic masculinity that she mistakes for chivalry.

Chandrajith follows a simple method of storytelling without any confusions or any major plot changes or twists in the narrative. The film takes references from books like Erich Segal’s Love Story and O Henry’s The Last Leaf. Having said that, when Sid meets Anahita again, she is at her weakest point. He tries to do his best to make her more positive and also tries to fulfill her dreams.

The film however has its bleak moments. One of the major drawbacks is the treatment of the emotions of the male protagonist. Sid’s character requires a certain amount of emotion that can make the audience vouch for him. The audience will perhaps be able to connect emotionally with Anahita’s struggles but not through Sid which is essential in a love story. There are also some unnecessary parts in the film that can make one feel bored but in retrospect, the film leaves a soothing feeling in the heart.

To conclude, Ibbani Tabbida Ileyali is a feel good romance made of polaroid pictures, poetry, wine, beautiful visuals by Srivathsan Selvarajan and Gagan Baderia’s music — all in the backdrop of the Goan monsoon and Bengaluru’s aesthetics.

(The film is currently running in theatres)

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'Kaagada' movie review: An inter-religious love story evoking old-school teenage romance

Set against a rural backdrop in 2005, a period where love mostly blooms through letters, the plot of Kaagada (which means letter in Kannada) bridges the gap between two teenagers from Hindu and Muslim communities. Ranjith Kumar Gowda’s film tells the tale of Shivu (Adithya) and Ayesha (Ankita Jayaram), college students who navigate love amidst societal divides. Will their innocent romance endure? Watch Kaagada to uncover their fate.

The film, which celebrates the simplicity of love, also deals with political and ego clashes, urging humanity’s preservation. Beyond its romantic core, Kaagada also gets into the complexities of societal and religious tensions between Bairavakotte and Kemapanahalli, bravely tackling sensitive issues and urging reflection on religion’s true essence amidst misunderstandings.

While religions advocate compassion and universal brotherhood, Kaagada highlights the need for mindset shifts to preserve these core values. With the director also serving as the writer of the film’s story, screenplay, and dialogues, he has gone somewhere with the flow, bordering on the sensitivity of such inter-religious subjects. Performances in Kaagada are refreshing, with new faces Aditya and Ankita Jayaram delivering earnest portrayals of their characters. Raja Balawadi and Neha Patil are the two notable faces in the ensemble, which also includes college friends.

To conclude, Kaagada is a film with a straightforward storyline, which explores love and societal harmony, and genuine performances. The film treads a familiar path but can still be considered a one-time viewing experience, as it evokes a nostalgic charm reminiscent of old-school romance where games like FLAMES measured love.

Film: Kaagada

Director: Ranjith Kumar Gowda

Cast: Adithya, Ankita Jayaram, Neha Patil, and Raja Balawadi

Rating: 2.5/5 stars

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Gandhada Gudi On Prime Video Review: Puneeth Rajkumar’s Swansong Is A Precious Watch

Director: Amoghavarsha

Cast: Puneeth Rajkumar , Amoghavarsha

There’s always this bittersweet feeling when you watch a film starring actors who passed on before the film’s release. For one, seeing them on the wide screen is a reminder of how fragile and fickle life can get. Second, the dialogues play on in your mind long after the end credits, and take on different meanings, because you know what happened post shooting and pre-release.

Something very similar happens with Gandhada Gudi , directed by Amoghavarsha. The film is a journey that Amogh and the late Puneeth Rajkumar undertook, just a year before the star’s untimely demise. Their journey began on October 29, 2020, and traverses chosen spots in Karnataka, some of which hold special significance for Puneeth and some of which are a revelation.

The 98-minute film, superbly shot and edited by Prateek Shetty, comes with a foreword by Ashwini Puneeth Rajkumar that moved most at the premiere show to tears. The film is Puneeth’s swan song, the last bit of himself he had to give his fans who were as dear to him as life. And, that’s exactly how one should view Gandhada Gudi .

Amoghavarsha’s previous documentary Wild Karnataka (2019) earned a lot of praise for how it showcased the State and its wildlife, but also a wee bit of criticism that asked the questions: Where are the people? What about the people? Gandhada Gudi seems like an answer to those questions. In the six places — Nagarhole, Gajanur, BRT Tiger Reserve, Netrani Islands, Malenadu and the Deccan (Vijayanagara, Ballari) — Puneeth visits with Amoghavarsha, nature is in the starring role, but backing her are humans — the forest watcher, the anti-poaching officers, the shepherd family, the expert snake rescuer… All of them bat for her, ensure she stays safe. And the duo meets all of them.

Those who’ve interacted with Puneeth know what a warm person he is, someone who wore fame very lightly. This film is a treat for them. It is also a fabulous introduction of Puneeth to a larger audience in places where people don’t know him, and will yet be charmed by his easy presence.

Puneeth bares his insecurities, his fears and recalls his days as a child actor. The film Bhakta Prahlada (1983), in which he was a child star, left him with two fears — of elephants and snakes. “I can still feel the breath of the snake they wound around my neck. And I used to be terrified, but thanks to you and having watched two-three snakes now [in Malenadu], I’m about 30 per cent more confident,” he says, and even witnesses the rescue and release of a 15-ft majestic king cobra. He’s also fascinated by the majesty and ephemeral nature of Jog Falls.

In the same film, there’s a scene where a young Prahlada is being approached by elephants. “It took so long to shoot, the minute the elephants came near, I would run away. I was terrified,” he recalls. But then, Puneeth’s face turns child-like when he sights an elephant herd by the waterhole. He’s charmed by the langurs and their facial expressions and by how utterly fascinating a life the bears lead without televisions and cell phones to entertain them.

The Gajanur segment, where Puneeth takes Amoghavarsha to the home where his father and matinee idol Rajkumar was born and the nearly 250-year-old banyan tree he loved, slept under and sometimes meditated at, offers an intimate other-side of the life of a star. This is also the place from where Rajkumar was kidnapped by Veerappan and released after more than a 100 days in captivity.

Amid nature, Puneeth is philosophical, almost wistful in his thinking. He ponders about life, about the timelessness of the forest, about the eternal nature of water. And none of it seems forced or put on, thanks to the fact that Puneeth is both eager questioner and active listener. And, what Amoghavarsha does in this film is almost help the star tick off every item on his nature bucket list, including camping by the Kali river, and relishing ready-to-eat food boiled in hot water. It is mighty poignant that the film releases a day before Puneeth’s first death anniversary.

“I’ve always wanted to camp in a tent, but never had the opportunity or a friends’ circle interested in it. Know what I did? I erected a tent in my garden and spent a night there,” Puneeth laughs.

Everyone knows Puneeth is a people person, but the fact that he’s at ease in any surrounding is evident in the section in the forest, where he spends time with members of an anti-poaching camp and forest watchers and guards in the BRT Tiger Reserve. They go together for an early morning recce, play a round of Kotyadhipati [the show he hosted] by a stream, and go to chase an elephant that has entered a farm.

Near Murdeshwar, at Netrani island, shaped like a heart, instructor Mariyam takes Puneeth and Amogh on a dive. They see a multitude of colourful marine life, and also plastic bottles and fishing nets settled on the ocean floor. When he emerges from the water, Puneeth looks a different person — there’s a certain calm in his face and the quiet acknowledgement that he’s been gifted the chance to experience a journey like this.

In Malenadu, when they’re going about in the evergreen forest teeming with life and snakes, Puneeth asks, “We’ll reach safely no? I have three films to complete, and my wife and kids are waiting.” Death is inevitable and cannot be questioned, but his seems so unfair.

In the Deccan, Puneeth speaks about how Uttara (North) Karnataka is very close to his heart, and how much love he’s received from the people there. There, Amoghavarsha and Puneeth swim in the Kali, bathed golden by sunset, walk in the scrub jungle and climb rocks. They visit a family of nomadic shepherds and share a meal with them, and speak about living with the threat of predators around. “They [the predators] are like our siblings. They always travel with us. Yes, they take a sheep or two, but they have to eat too,” the couple, who live in sync with nature, tells Puneeth.

And then, they travel to Patagudi, a village with nine homes and 50 members. Here, Puneeth is most at ease — barring a few, no one knows or recognises him. He spends time with the children, recites the Kuvempu poem ‘Elladharu Iru’, and goes to the birthplace of the Kali with the villagers. There, Amoghavarsha says that he realised who is a hero. A universal human.

The film has music by Ajaneesh Loknath and audiography by MR Rajakrishnan. It’s possibly the last chance to see Puneeth up close and personal, and it’s bittersweet, but it is a gift of himself Puneeth has left behind.

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Vedha Movie Review: Shivarajkumar anchors a dark and brave tale that delivers a strong message

Rating: ( 3 / 5).

Revenge is always a powerful plot device in our films, and Shivarajkumar, in his 125th film Vedha , has a wild kind of justice rationale to exact his vengeance. Fans of Shivanna will be ecstatic about the all-out action character he plays in the film. However, interestingly, Shivarajkumar is not playing a character that will be seen in every frame of Vedha . The film is actually a women-centric film, which revolves around a thirst for vengeance, and Shivanna’s unstinting support for the cause.

Director: A Harsha

Cast: Shivarajkumar, Umashree, Ganavi Laxman, Aditi Sagar, Shwetha Chengappa

The story is told by a retired police officer Ramaa (Veena Ponnappa) to her granddaughter, a corporate employee harassed by a man in a mode of public transport. The tale traces incidents that the cop witnessed during her tenure and is centred on Kanaka (Aditi Sagar). After being imprisoned in jail as a juvenile, Kanaka is released to her father, Vedha. A fiery Kanaka, even though battered and traumatised, has a steely resolve and goes on a relentless mission of vengeance along with her father. Who can stop the two, and why are they wreaking havoc is told in a non-linear fashion as we traverse two distinct timelines of the 60s and 80s.

Director Harsha’s signature is all over the film, and his comfort level with his frequent collaborator, Shivanna, is clear in their fourth film together. Without compromising on the commercial elements, Vedha has a new style of narration.

Even though Shivanna is the hero, he does not hog all the limelight, and the film is firmly focussed on the women of the film, who are undoubtedly the highlight of Vedha .

Shivarajkumar, who has two shades in Vedha , mostly speaks with his action and the director has made excellent use of his expressions and body language. The star clearly knows his job, and is only getting better with age. Be it the fiery action sequences, or the cheery dance numbers, Shivanna infuses energy in every frame. Aditi Sagar shines in her debut, and the way she brings to life Harsha’s vision is a testament to her talent.

Ganavi Laxman also sparkles in two shades while Shwetha Chengappa as a sex worker has an important role to play. As long as Umashree is on screen, she laughs and charms with her performance. Director Harsha could have given more importance to the senior actor’s role.  Raghu Shivamogga gets to play a pivotal role while good support comes from Ch. Gurudutt, Manju Pavagada, Govindegowda, Veena Ponnappa, and Rekha. Bharat Sagar. Cheluvaraj, Sanjeev and Vinay Biddappa are excellent as the antagonists.

Set in a village backdrop, and mostly made on the sets, cinematographer J Swamy accentuates the visual quality of the film with his work in natural light, and using dark tones.

The song ‘Gillakko Shiva..’ blends with fight sequences, and moves uninterruptedly in the background. There is something new in Junjappa’s song and Arjun Janya has come up with an innovative background score too.

A period drama, Vedha is dark, brave and sends the message of women empowerment, which still holds good in today’s times.

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Kantara Movie Review (2022)

Rishab shetty's 'kantara' is a solid masala-myth that, despite its issues, finds new ways to tell an old story about ‘the chosen one’.

Kantara Movie Cast & Crew

Rishab Shetty writes, directs, and delivers a joyous and very exuberant performance as Shiva, the protagonist of Kantara – but he's absent from the opening stretch that is set in the nineteenth century. We hear a tale about a king who had everything. He had the love of his family. He had the love of his subjects. What he did not have was peace of mind. There's a second time period, in the mid-1970s, and a third, in 1990. The screenplay uses many devices to tie the past and the present – or rather, to bring the past to the present and show how the two are always intertwined. There's the sound of anklets heard in a forest. There's a near-mythical sword passed on from the days of the king to the days we find Shiva in. There's the reference to Vishnu's third incarnation, Varaha Avatar, where the god became a boar.

And the most important past-present connection is a fearsome scream, which is also a metaphor for the cry of anguish of the landless. We hear this cry in the present-day Bhoota Kola performances, and we get into the meat of the plot: Who "owns" the forests? Or to extend this point, who owns Nature? The tribals who have lived in these lands for centuries? The government, which draws boundaries and creates forest reserves and wants to relocate these tribals? Or the local landlords, who still think that their ancestors gave away these lands, and so these lands are – in a sense – still theirs? Attached to this supertext is the subtext of whether we can really reject our identity. This question is posed through Shiva, who hails from a family of Bhoota Kola performers, but refuses to have anything to do with the folk-art form. It has something to do with his nightmares, which he must learn to face.

Meanwhile, he is content getting a "mass" entry as a Kambala champion, a man who wins buffalo races. Kantara follows the classic template of The Chosen One, a man who appears ordinary but is destined for greatness. At first, Shiva is as ordinary as ordinary can be. He drinks. He hunts. He pinches a girl's hip and peeps when she's bathing. He's called a "fighter cock", and he is constantly cursed by his mother. And like every self-respecting masala -movie hero, he locks horns with the antagonist, the man who will not allow him to do the things he likes to do. This man is the forest officer Murali, nicely played with gruff authority by Kishore. He represents the System, the government, and at least in one respect, he's the opposite of Shiva: this man does things by the rulebook. The third vertex in this male-triangle movie is the landlord played by Achyuth Kumar. He always wears white, and his heart appears equally spotless, equally pure.

But note his name: Devendra. It's a lordly name. It refers to the Vedic god, Indra – as opposed to the more pagan god we see being worshipped by the tribals. There’s a bit of discrimination right there. In short, we are either in a masala movie disguised as folklore, or in folklore disguised as a masala movie. Either way, everything has a touch of symbolism. When Murali interferes with a Bhoota Kola performance, it's also the government interfering in the centuries-old life and customs of tribals. When a tree falls on a Jeep, it almost seems like the forest is avenging itself on behalf of its people. And when the king's sword returns in the story, we recall a promise being made and what would happen when it is broken. All of this is richly shot by Arvind S Kashyap, and elevated by B Ajaneesh Loknath's score, which is simultaneously as big as rock music and as subtle as the gently rippling notes at the film's opening. And some of the action choreography is superb.

There are issues in the writing. The portions of Leela (Sapthami Gowda) falling for Shiva should have been better. There's a taken-for-granted quality about this love story. And though Kantara is not exactly a whodunit, the villains are easy enough to spot from a mile away, and a character's change of heart is entirely expected – meaning, the narrative could have used a lot more tension. And in such a story, I wish they'd avoided the cliches – like Shiva bursting in fury when his mother is slapped around, or the really cheap shot of a little girl being killed. But the bigger picture of Kantara is in the smaller details. It’s in the way Leela is torn between her affiliation to her job, i.e. the government, and her people, i.e. the tribals. It's in the way Nature is manifested as wild animals, as forests, as fire, as rain. When Shiva is drenched in a downpour, he says he isn't wet; he has been cleansed. It’s almost like Nature has performed a ritual on him. Despite the generic nature of the middle portions, the closing stretch complements the film’s opening beautifully. And there’s very little more potent than the rush of myth.

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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‘Kantara’ movie review: Rishab Shetty bats for folklore and native culture in his latest

Actor-director rishab shetty excels in his endeavour to raise pivotal issues that affect the tribal people.

September 30, 2022 06:48 pm | Updated 06:57 pm IST

A still from the movie

From a general glance at the Kannada movies in the last five years, it appears that the Shettys (Rishab Shetty, Rakshit Shetty and Raj B Shetty, better known as the ‘RRR’ of Coastalwood) are changing cinema to a certain extent, in terms of content rooted in native ethos.

Rishab Shetty (of  Ricky and Kirk Party  fame), strongly believes in his theory that cinema will be more universal, if its content is regional and trust is reposed in regionalism.

Kantara (Kannada)

Kantara  is a continuation of his engagement with regional content; he has once again experimented with the much-discussed issue of feudalism, environmental protection and forest land encroachment in general. In Kantara , he has turned his focus on folklore and the native cultures including Yakshagana, Paddana, Bhoota Kola, Daivaradhane, Naagaradhane and Kambala. The film also be viewed as a critique of the suffering of the native tribes, who have been subjected to unspeakable atrocities owing to caste hierarchy.

Set against the rural background of forest wealth smuggling, Rishab narrates a story of the belief system of generations in the coastal region and focuses on the sacred customs of the region with the powerful support of the native village nestled in the forest land. He succeeds in meticulously bringing a tale of myths, legends and superstition, and that too in his native dialect.

Kantara (which means forest in Sanskrit) is narrated through three timelines and deals with the issue of man vs nature, which is steeped in the culture and rituals followed in the coastal region. This deeply-rooted mystical drama opens in the 18 th  century showing a king handing over a piece of land to the native tribes in the coastal region. It briefly takes a break in the 70s to inform the audience how a descendant of the King tries to reclaim the land, and finally unveils the strategies of the next generation feudal lord (Achyuth Kumar) to regain the land from the tribal community.

When Shiva’s (Rishab Shetty) father, a Kola ritual performer also known as Bhoota , disappears mysteriously in the forest, after a fight with a feudal landlord who demanded the land to be given to the tribal community, he antagonises a DFO named Murali confusing him as their usurper. Trapped by the feudal lord, Shiva picks up fights with Murali, who thinks the former is a smuggler who uses native culture to loot the forest wealth.

His love interest Leela (Sapthami Gowda) joins the Forest Department as a forest guard and helps the department in surveying the government forest land. Shiva’s brother, Guvurva, who doesn’t want to support the feudal lord in grabbing land granted to the natives, gets killed. Shiva is forced to fight with Murali, when he is caught in this crossfire. Finally, both Shiva and Murali join hands to fight against the deep-rooted feudalism in coastal Karnataka.

But, it is cataclysmic that in his enthusiasm to showcase, native culture, Rishab glamourises native practices. Such attempts to please the audience through a commercial framework lead to the narration losing traction and issues get diluted.

However, Rishab excels as Shiva in his endeavour to raise issues, such as forest land encroachment and the attempts of the local lords to appropriate land that belongs to poor tribal people for development, in the guise of being benevolent.

Kishore, as a law-abiding forest officer whose heart is with the protection of the oppressed community, steals the show. He excels as a character who gets caught in a tussle between the system, politics and the problems of the people. Similar is the performance of Achyuth Kumar as a treacherous landlord.

The locations are colourful and vivid, and the background music by B. Ajaneesh Loknath represents the ethos of the land. Cinematographer Arvind S Kashyap’s meditative shots showcase the native culture and capture the rustic locales in their grandeur. The filming of the Kambala sequences (the annual buffalo race, held in coastal Karnataka and celebrated by the farming community) is testimony to his brilliant takes.

Kantara is currently running in theatres

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Hands-down – the best 7 kannada movie review youtube channels to follow.

If you need help deciding which movie to watch? This Kannada movie review YouTube channels list will help you through your dilemma. 

Channels in this list put out their genuine reviews for the movies and create story analyses. In addition to this, they even upload videos on teaser/trailer breakdown, movie recommendation listicles, reaction videos for trailer/teasers and posters—finally, interviews and vlogs with movie stars.

These seven Kannada movie review channels on YouTube provide great entertainment for movie buffs. They help viewers identify the best new movies and what to skip.

1. Kannadiga Agni

More than 50,000 people have subscribed to this channel, and it has more than 84 million views. This Kannada YouTube channel is your one-stop destination for unbiased reviews, movie post mortem videos, movie recommendations, complete breakdown analyses. This channel even offers Kannada short films directed by Kannadiga Agni itself. Furthermore, you can see vlogs of him exploring the scenic places of England. 

Our favourite video of this channel is – 777 Charlie story analysis and how it’s linked to India’s epic Mahabharatha. Interestingly, Rakshith Shetty, the director of this movie, tweeted it.

2. Kairam Vaashi

Kairam Vaashi reviews Kannada films on Film Companion South. This channel is a division of Film Companion. One can find in-depth reviews, analyses and recommendations from Kairam Vaashi on this channel. Apart from this, he is also an author. If interested in checking out his articles, you can head to the channel’s website.

Must Read – 13 Kannada YouTube Channels You Should Subscribe Right Now

3. Cinema with Varun

This channel has 50,100 subscribers with 79,59,106 total views. Varun reviews movies with the greatest amount of honesty. Apart from this, one can find recommendations, interesting facts about Kannada movies. Also, reviews movies from different languages in Kannada. Go ahead and subscribe if you have not.

Next up on the Kannada movie review YouTube channels list

4. chandan arya – newz alert.

Chandan Arya reviews all the latest Kannada movies and shares the box office reports, his opinion, and updates on industry trends. Apart from this, his channel Newz alert hosts different categories of videos. 

5. Name is Madhu

This channel has 167k subscribers and has gained over 24,168 225 total views. You can find movie reviews, sandalwood updates, celebrity interviews and vlogs on the YouTube Channel. Also, you get to see his reaction videos on controversies. 

6. KFI Talks

Here you’ll find all kinds of stuff related to the Kannada Film Industry, from movie reviews to poster/teaser reactions and more. This channel has 43k plus subscribers and has 8,730,362 total views. 

7. Kadakk Cinema – The fastest growing Kannada movie review channel on YouTube

Kadakk Cinema has a whopping 128k subscribers currently on this channel. Over 22 million people have watched their videos. A team of movie lover’s from Karnataka. Trying to unite Kannada cinema fans and provide a one-stop place for all film news and updates.

Check out these channels for all your entertainment needs in Kannada. 

Note: All the stats are as of Jan 2022.

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