Kaantha

Rating - 4/5

A performance driven period political drama thriller showing the ego rivalry of an actor and his Godfather.

The story revolves through the emotional misunderstandings between an actor and a veteran filmmaker which further explores the immeasurable price they had to pay for their selfless ego leaving them with endless regret and guilt.

Selvamani Selvaraj has pulled off an intriguing story keeping cinema as a backdrop extracting the peak performances of the key characters. The screenplay by Selvamani & Tamizh Prabha is commendable keeping the audience hooked to the screen with the charismatic performances and story placement. The story is uniformly paced and once the backdrop is set, the filmmaker has easily placed the emotional dynamics among the lead characters through subtle narration and supporting background scores. The film has precisely explored the hierarchism in cinema, pride, ego, revenge, betrayal and romance with flawless writing and to the dot execution. Hats off to the filmmakers for elevating the film from a drama to a thriller in the final lap through the fluctuating background scores.

Powerful performance by DQ Salmaan who proved his excellence again in mastering period characters with immense accuracy and subtle execution. Poignant performances from Samuthirikani & Bhagyashri Borse who delivered their character with a cutting edge perfection. Incredible performances from Rana Daggubati who has just driven the entire second half with his dominant performance and dialogue modulations. Nizhalgal Ravi, Ravindra Vijay, Vaiyapuri, Bhagavathi Perumal, Bijesh Nagesh & Gayathri Shankar gave solid performances.

Kudos to the technical teams behind the camera for their contributions in setting the period ambience throughout the movie specially the DOP Dani Sanchez Lopez for capturing the core performances and the period settings, sensational Music & Scores by Jhanu Chanthar & Jakes Bejoy respectively, Costumes by Poojita & Sanjana, haunting sound design/mixing by Sanjay, Allwin & Vishnu, effortless contributions by art department, thoughtful colour grading by Bhusam Kiran/ Glen Castinho altogether weaved and tailored into an emotionally engaging story by Llevellyn Antony Gonzalvez.

A fully loaded power house performance story that should be experienced in 4K Dolby Laser Atmos screens.

• A decent film with stunning performances and filmmaking, the technical quality of the film is top notch be it the sets, the costumes, cinematography, the score, direction... but the performances carried the movie throughout.

It was Bhagyashri Borse's performance that really stunned me, did not expect that. She was brillaint in this role. Dulquer and Samuthirakani also nailed their role with Rana also delivering a good performance, entire cast has done well.

The only drawback of this film is it's length and pacing. It's a slow burn drama which is engaging at times but overall slow paced and lengthy. I did enjoy many scenes in the film but can't say I am fully satisfied with the film. Still a decent watch.

Kaantha stands out as a quality cinematic experience driven by strong performances and impressive making. The world-building, character arcs, and meticulous period recreation together create a distinctive atmosphere rarely seen in recent Tamil cinema. However, the marked genre shift between the two halves slightly dents its chance of being called exceptional.

Dulquer Salmaan delivers one of his finest performances as TK Mahadevan, skillfully portraying both his real and reel personas. The dual-layered acting is a delight to watch. Samuthirakani shines as Ayya, adding emotional depth and restraint. Bhagyashree Borse is a pleasant surprise, leaving a mark as Kumari through her graceful screen presence. Rana Daggubati's track, though important, introduces a tonal shift and feels somewhat exaggerated in performance.

On the technical front, the film excels. Cinematographer Dani deserves special praise for his stunning visual framing-the lighting, close-ups, and shadow play are world-class. The songs by Jaanu Chander and Jakes Bejoy's background score blend beautifully with the film's mood, while Anthony's editing keeps the narrative rhythm intact.

Director Selvamani Selvaraj displays remarkable maturity and control, crafting a film that is both visually rich and thoughtfully layered. His craft and cinematic vision are excellent.

The shortcomings mainly arise in the second half, where the shift to a thriller-investigation mode feels less engaging. The narrative energy built up until then momentarily dips, slightly affecting the immersion. Yet, the finale and climax-particularly the confrontation between Dulquer and Samuthirakani and the memorable mirror sequence-restore much of the film's impact.

Kaantha ultimately stands as a sincere and ambitious effort from a team of talented creators. It is a genuinely good watch, and with a bit more daring in the later half, it could have achieved the status of a modern classic.

Set in 1960s background, Kaantha tells the story of a feud between two men one's envy poisoning another's growth and the dire consequences of their ego. The film proves that knowing who the killer is, matters less than watching how the story unfolds. You know the destination, but the journey is what makes this predictable whodunit a memorable classic.

Dulquer Salman as T. K. Mahadevan, a call back to veteran actor M. K. T, is perfectly cast - the actor has put in all that he has learnt through the years into this film. Since it is a whodunit, his character did not have the scope to be well-defined, yet the ability of the actor to shine past that barrier is truly commendable. Samuthirakani as the director has done an equally commendable job, the role of an antagonist is not new to him, and he has done his best with the material he was given.

Bhagyashri as Kumari is probably the best find of this year. Very few female actors start their careers with a meaty role as this in a new industry. Her ability to embody the acting skills of veteran actors speaks volumes about her range. Casting is a huge plus point for the film, apart from the set design, background music, costumes, and screenplay.

Screenplay and dialogues written by Selvamani Selvaraj and Tamizh Prabha are what transform this familiar story into something special. The writing crackles with period authenticity and elevates every scene through nuanced character work. The climax alone should give goosebumps to any film lover.

Rana comes in the second half as your typical whodunit investigation cop and doesn't add much value to the film. The character is an exhausted trope at its finest.

The film's biggest flaw is that it feels like two different films stitched together. The first half is a character-driven period drama about envy and ambition. The second half shifts into crime procedural territory. Both halves are excellent in isolation, but the transition is jarring rather than organic. If you're a fan of both drama and crime drama, you'll appreciate the craftsmanship of each half. But if you're expecting the story to progress naturally from setup to resolution, you might feel blindsided by the shift. The film is quite long, and the essence of the first half gets somewhat lost in the second. I suggest you take a break during intermission and relish what you've watched before tuning in for the genre change.

Regards, Vetrrich Chelvan NF14122025.

We don't see films like this in Tamil cinema very often(as in the pace and storytelling), but its high time that we need such films, and creators like Selvamani Selvaraj and Tamizh Prabha should be celebrated. This was one of best performances by Dulquer Salman, but this character has that space for such dramatic and emotional moments. Bhagyashri Borse really surprised me, I never thought she could act like that. She's definitely miles better than the rest south Indian "heroines". I really enjoyed Rana Daggubati's character. Finally "Ayya" Samuthirakani, what an actor he is. He excells in every role he is given. Many people said this movie is lagging, but for me it was perfectly paced and I enjoyed it really well.