- Date of Release: 02 October 2025
- Genre: Action, Mythology, Fantasy, Thriller
- Language: Kannada
- Watch On: Theatres Only
Kantara: Chapter 1
Introduction
It is interesting how the protagonist in the new Kannada film Kantara Chapter 1 is named Berme (Rishab Shetty) – based on a Tulu warrior who was the protector of his clan, thereby immediately drawing parallels to Shiva, the name of the protagonist in the first film of the franchise. In a way, both Berme and Shiva are cut out of the same cloth – they are both protectors of their clan and tribes, protecting the forest area or the ‘Kantara’ from evil forces stemming out of the greed of man. And yet, Berme and Shiva have a clear distinction about them right from the start – unlike the latter, Berme doesn’t have a transformation in terms of his spiritual connection with his land, or his stance with respect to the authorities. Having being abandoned and protected by a Tiger – the spiritual symbolism of Goddess Chamundi, and brought up amidst the nature and the presence of the Kantaran tribe. In that sense, the prequel Kantara Chapter 1 becomes an intriguing origin story that traces these symbolisms in the mythological era, that further highlights the legend behind the Bhoota Kota tradition that we see at the start of the film.
Story & Screenplay
Written by Rishab Shetty, Anirudh Mahesh and Shanil Gowtham, Kantara Chapter 1 takes a leaf out of its predecessor in terms of its conflict, while further grounding the tale to the vicinity of the forest land. So as opposed to a land issue that laced the narrative in the first part, the focus remains the forest land in a narrative style that unfolds like a folklore. In the opening act, you are witness to the presence of a Panjurli Daiva – The Boar God, that symbolizes the perfect balance between man and ethereal spirit that protects the land, possibly from the presence of capitalism or greed while symbiotically housing the Kantara tribe within. This is the perfect symbolism because it accurately represents the recurring theme of protection and invasion, even as the story dates back to the 1900s.
One of the strong aspects of the writing remains its characterization, representing greed as a virtue that is passed down upon generations. Initially when you are introduced to King Vijayendra of the Bangra kingdom, you see him as a fierceless but cruel leader who thrives of slavery and greed. And his greed originates from the misuse of spices that are found in the forest, something that he wishes to use it for his sea trade. It is only following a tragedy that you see a sense of fear in his son King Rajashekara (Jayaram), who carries forward his father’s legacy of greed but is cautious in stepping into the Kantara, following his father’s death. His two children Prince Kulashekara (Gulshan Devaiah) and Princess Kanakavathi (Rukmini Vasanth) are born in a life of privilege – even as the former remains a callous alcoholic with traits of cruetly, while the latter remains restrained and cautious.
The human versus nature conflict is represented between the forest tribe and the Bangra Kingdom, with a sub-division being between another ‘Karpa’ tribe that distinguish themselves as evil counterparts of the Kantarans. In a broader sense, this is a conflict between the good versus the evil that erupts out of greed too, with the power dynamics playing an important aspect in this passage. The power lies with the Bangra kingdom in aspiring to invade the forest for their own gains, but being extremely cautious due to the legend of the Kantara, and how no one ever returns alive from the forest. In a way, this mystical myth binds the forest together – creating a circle of protection, much like the pit where a young Berme was protected by the spiritual Tiger.
The drama has a considerable buildup, and while I really didn’t mind that – the issue remained the tonal inconsistancies in the narrative, particularly with the inclusion of humour that was against the tide in many ways. A subplot involving a Bangra soldier being influenced to switch sides to the Kantarans, or another involving a soldier who voluntarily switches sides just because he could ‘breathe’ well in the Kantara forests. Or another one, that is used as a comic relief on top of a ‘constructed’ object in the middle of an action sequence. These bouts of humour act as circuit breakers in the narrative, something that could have been avoided completely in exchange of a razor focus on the legend of the forest.
Things significantly improve in the second hour even as there is a little more urgency to the drama even with respect to the emotional core that gets underway. Be it Berme’s inclination to use the irrigation techniques for his own people, or his tryst with his mother, or even his spiritual connection with his land taking the form of a Deity during the Bhoota Kola ritual that showcases a sense of divine invention in protecting his land – does hold your attention. It is also where the characteristics of a few characters stand out. For instance, Prince Kulashekara was never quite pitted to be against Berme given his stature or his callous traits – something that left me wondering at the start, but later made perfect sense.
There are multiple twists in the narrative that flips the perception of a few characters along the way too, while keeping the connective tissue of the fight of protecting the land versus greed and oppression intact. This results in a final act for the ages in a battle versus the good and the evil, even as Berme strengthens his bond with the ethereal world, resulting in an emblem of a guardian spirit that uses divine intervention to protect his land. It was a surreal moment witnessing the layers of intensity unfolding towards the end, something that contributed to the visual spectacle yes, but more importantly had several goosebumps worthy moments that did stay with me, long after the film had ended. And no amount of words would do justice to this feeling of divinity that did unfold onscreen.
Dialogues, Music & Direction
The dialogues score when the focus lies on the folklore, something that adds layers to the narrative. But the slip-up is when there is a little indulgence in humour that really seems out of context. This applies even during a battle sequence when the intensity is at its peak otherwise, only to cut to a mild comedy plug-in that felt against the grain. But I would still want to be kinder to this criticism, because the larger picture is that of grit and grandeur. The music and the BGM is tremendous, with the inclusion of notes that absolutely compliment the grand visuals onscreen. Even the moments of Bhoota Kola are goosebumps worthy, perfectly complimented with a rousing score.
The cinematography and production design are outstanding here, wherein most frames feel like postcards with the right amount of detailing. Be it the battlefield that holds almost 3000 characters, or the beautiful shots of the forest that immediately transport you into the deep paths of Kantara, the grandeur is definitely intact, or even a battle in the forest ably shot by a drone camera that adds to the urgency and intensity in the moment. The VFX is top-notch, particularly with the vision displayed with the animals or even the trees that are lit up. The editing pattern is largely good albeit a few flaws with respect to cut-aways in crucial moments. But to include as much information in this span of time, definitely accounts for a commendable effort.
Director Rishab Shetty is a visionary director who can now be named in line with say a Sanjay Leela Bhansali. There is method to his madness, a grandeur to his vision, an aesthetic to his craft that is undeniably brilliant here. This was not an easy film to execute by any stretch of imagination wherein the ideas on paper needed vision to be translated onscreen. And Rishab doesn’t take the easy path either, wherein even a cash cow would have brought the audiences in. His themes go hand-in-hand with his vision, mildly dropping a beat during the scenes of comedy but still driving the narrative with such intensity that its impact stays with you long after the film has ended! It is Rishab Shetty OP, all over again!
Performances
The performances are pretty good by the members of the cast. Ayra Krishna, Bala Rajwadi, Sampath Ram and Raghavendra S have their moments to shine. Hariprashanth MG as King Vijayendra upholds the cruel trait of his character by his towering presence and solid body language. Deepak Rai Panaje as Sankappa, Prakash Thuminad as Chenna and Rakesh Poojari as Peppe are good despite the comic angle in the narrative being a little out of line. Pramod Shetty as Bhopendra is pretty good to witness too, using his smugness to good effect. Jayaram as King Rajashekara is understated but comes alive towards the end.
Gulshan Devaiah as Prince Kulashekara as the callous, alcoholic and foul-mouthed character is absolutely brilliant to witness here. There is a certain degree of menace that he brings to his character while capping it successfully, just so that his pitted rivalry with Berme is deliberately showcased to be a battle of unequals. There is a streak of madness too that he exhibits every now and then, something that makes for an impactful performance. Rukmini Vasanth as Princess Kanakavathi is more than just a ‘love interest’ in the film, perfectly embodying her trait of caution with finesse and restraint. Her radiant screen presence often commands attention, while making for a performance that is immensely impactful.
But it won’t be wrong to say that this is a Rishab Shetty show all the way. As Berme, he is a towering personality that goes inline with his ‘protector of the land’ trait. And while he uses his body language to great effect, the real deal is in scenes of the Bhoota Kola ritual wherein he brings such intensity to his character that it transcends beyond the realms of the screen. It is goosebumps worthy in many ways wherein its impact stays long after the film has ended. Rishab uses every ounce of his energy to convey this visual that is a spectacle of the highest order. If this is not commitment, I don’t know what is. If this is not an acting masterclass, I don’t know what is.
Conclusion
Kantara Chapter 1 is a gritty and rousing prequel packaged in a visual spectacle of the highest order, so much so that I am willing to go a little easy on its flaws. It is really something when you witness Cinema coming alive, and this is that one occasion that I felt deeply immersed – a feeling that I couldn’t shrug off too easily <span;>(even at the time of writing this review).<span;> Available in a theatre near you and Highly Recommended!