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Kantara ending explained — what really happened at the end of the drama thriller

By Arman Khan

How do you tell a truly Indian story? It’s a question that has baffled Indian filmmakers forever. In Kantara , directed, co-produced and starring Rishab Shetty, this question is answered emphatically. Such is the force of the film, its originality and its rootedness that there is rarely a false note. 

A still from the movie Kantara

But what happens to Shiva, the titular character in the movie Kantara played by Rishab Shetty at the end of the film? Is he dead or alive? Or, will he return back to save the forests from anyone who threatens it?

Let’s quickly recap the story and the symbolism of the film before breaking down that chaotic, gorgeous climax sequence. The film begins in 1947 when the local king grants land to the indigenous people of the village, hoping that their god, or rather Demi-god, Panjurli Daiva will bless him. All the stakeholders are happy until we fast forward to 1970 when the local landlord, the descendant of the same king, demands that he wants his land back. He makes this demand during the Bhoota Kola performance — a folklore performance where the deity possesses a chosen man from the village and dances to folk songs, blesses the village and reiterates the fact that the forest and its resources will always be protected by Panjurli. 

The landlord, for his part, rubbishes even the existence of the deity and believes that it’s the performer speaking and not the deity itself. He wants the land back - to which the deity says that his fate will be decided on the steps of a building. After making this prophecy, the Demi-god disappears into the forest into a circle of fire. And so, it happens. The landlord spits blood and dies on the steps of a court where he has gone to reclaim the land. 

The present context in which the film later unfolds is in the early 1990s. The new landlord seems to be friendly with the villagers. Shiva, played by Rishab Shetty, is a village favourite. He has been winning the annual Kambala, a traditional buffalo race. The villagers love him and the landlord is extra kind to him. However, the equilibrium of the forest village is disturbed when a new forest officer, Muralidhar, dismisses the customs of the villagers, challenges their right to forage forest resources and prevents them from making any noise in the forest during their festivals that might disturb the villagers. 

However, the real threat, as we discover, is again the landlord all this while. He’s been conspiring against the villagers to reclaim the land back, a fact soon discovered by Shiva. On his part, Shiva, a true metaphor for lord Shiva, keeps having strange visions of a wild boar with metallic teeth and seething eyes. He wakes up nearly every day with a nightmare. Throughout the film, the song “Varaha Roopak Daiva Va Rishtam” keeps playing in the background. Varaha, it turns out, is also a wild boar, one of the avatars of Vishnu. As things get heated and the real malice of the landlord surfaces, the village prepares itself for one final battle against the casteist landlord and his army of goons. In terms of armoury and muscle power, the villagers are no match to the landlord’s army. Women, children — the landlord’s men spare none. Even Shiva is choked and killed. 

Only to be resurrected again by the demi-god Panjurli, who possesses him, bestowing him with superhuman powers — in a moment that sent goosebumps to everyone in the cinema hall, the entire village heaves a sigh of relief and prays to their god who has possessed Shiva, praying for vengeance. It’s a ball of fury after that — Shiva, or rather god Panjurli through him, annihilates the landlord and his men, restoring the balance back. The cop, who appeared to be a villain in the first half, is now on the villager’s side. 

However, Shiva, now the new conduit for the demi-god, hears the shriek of his ancestor from the forest and merges with the forest — similarly dissolving into a circle of fire. His lover, now pregnant, becomes aware that Shiva might perhaps never return back unless there’s a threat to the forest once again from greedy landlords. Will he ever return? Not really. He has transcended the human form and is now purely in service to the forest deities. In one of the most stunning sequences, before dissolving into the forest, the demi-god takes everyone’s hands, including the cop’s, and places it on his chest, thus encouraging them to always work together, to be in harmony with the forest, and not overtaking one another to stake claim over something which only truly belongs to Panjurli Daiva. 

What could be a better, truly Indian way, of blending folklore with mythology , to show us that it is futile thinking on the part of us humans to believe that we can ever own nature?

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If anyone watched the movie Kantara? what's your opinion.

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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Why Kantara Is A Must Watch

Kantara is mesmerising, applauds Rajesh Karkera.

I normally steer clear of a movie for which the tagline is 'written, directed and acted by xyz'.

Well, all by the same one banda (person) because it's a just-one-cook-might-spoil-the-broth-too situation.

But Rishab Shetty's Kantara , which now has Hindi subtitles, had all enjoyable ingredients of a first-class film and never once made me rue the day I decided to watch the solo-job movie.

Here's what the movie made me realise, or rather remember: Daiva and kola are words I have heard since my childhood. Though I was born and raised in Mumbai, my family hails originally from Tulunad district, Mangaluru, and hence these are words I know of from a very long time.

I always wondered why all my elders in Mangalore are so attracted to this ritual of where a deity, not a god or deva , but a daiva is called upon for his blessings for the family or land, mostly land.

It is said in Mangalore, that, in the old days no one could sell off their land without the blessings of the daiva .

I am not a believer and this information was given to me by my wife Namita -- the daiva s are essentially Lord Shiva's ganasor attendants, who were sent across the land to look after its people.

It is also said that Lord Shiva sent the ganas as he himself could not be in all the places at the same time. To please the daivas , and to remind them always that they are never forgotten, a kola is organised.

The kola is a dance ritual.

Mythological legends are recited and enacted through this medium, completely in Tulu or Kannada and drummers and artistes take part in it. The rituals go on all night and it's not just a family event, but the whole village is invited too.

Kantara reminded me of Mangalorean village kola s and it recalled stories from my childhood. Stories that my Amma (grandmother) and my aunt would tell me -- not once, but many a time, when I couldn't fall asleep.

Tales about our ancestral place, which was where the Mangalore docks are located today, in Panambur, 10 km north of the city, near a beautiful beach, and how when the New Mangalore Port Trust was coming up, the government offered land to the former residents, in compensation,in other parts of Mangalore for them to resettle.

Our home got relocated to an area named Katipalla, five kilometres from Surathkal, also north of Mangaluru and that's where I spent most of my childhood holidays.

Kantara also reminded me of the tale that went around at that time, about a big stone in Panambur.

Though the villagers were forced to leave for land the government had offered them elsewhere, this stone, which the locals worshipped, could not be moved. It was immoveable. That one stone could never be pried out of the ground.

Kantara put those bachpan tales in perspective.

A brilliant watch, Kantara is not just for the people from Tulunad, but for everyone. It's mesmerising!

It's been almost a month since its release in Kannada and on October 14 the dubbed Hindi version was released and even on a weekday evening, the theatre was packed.

The narrative begins in the early 1800s and the first few minutes of the film, till when the titles come up, is enough to tell you that this is going to be a visual extravaganza that will demand more than one look!

Kantara revolves around a village in Tulunad district and their relationship with the forest and its daivas , especially two daivas -- Panjurli and Guliga. Of the two, Panjurli is calmer and forgiving. But Guliga is the one everyone should beware of and not invoke his anger.

Rishab Shetty has done an excellent job researching and portraying this tradition of daiva adoration to those of us who are ignorant of it. He showcased what daivas symbolise in a kind of raw, earthy yet detailed, realistic manner.

This movie caters to all.

It's got laughs.

It's got superb action sequences, which do justice to Arvind Kashyap's exquisite, vibrant, cinematography.

The characters, and the village jokes at Rampa Anna's expense (Rampa Anna is a character of ridicule and the butt of jokes in Mangaluru) did tame down an otherwise scary topic, making Kantara a visual feast.

Till almost near the end, you won't know who the actual bad guy is.

But it's not a suspense movie, or a horror flick. A thriller, yes.

Yet, in a subtle way -- which also succeeds in embracing tradition -- it gives us loads of colourful entertainment that bulldozes its way into our eyes and brain.

The opening sequence offers a taste of that, when Shetty comes riding in a plough, led by bulls in a race like the traditional Kambala ones held in southern Karnataka... And THAT is all I will disclose about the film.

You want to know the storyline or see some the fantastic characters in play -- go see it soon.

This is not an everyday movie you can see at home because Kantara is made for the big screen.

You will be glued to your seat and will even wonder why the interval even happened.

Get your popcorn before the movie starts!

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Bollywood has much to learn from raj shetty, 'how much more indian can my film get'.

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Kantara Ending Explained (In Detail)

In 1847, a king embarks on a special journey – he has all the wealth in the world but what he’s seeking is peace of mind. In the depths of the forest, he encounters an enigmatic deity named Panjurli. This deity bestows upon him eternal peace and happiness, under one condition. The king must donate the land to the indigenous villagers. However, there is a haunting warning that accompanies this blessing. The king or any of his descendants must never attempt to reclaim the land, for it would awaken the wrath of the spirit known as Guliga, a mysterious and powerful force.

Fast Forward to the Present

In 1970, a royal descendant defies warnings from the Daiva to reclaim the land and comes to a premature end, vomiting blood on the court stairs. Jump to 1990, when we meet Murali, a forest officer at a nature reserve. The villagers in the buffer zone fear their land will be seized by government officials and fiercely resist.

Enter Shiva ( Rishabh Shetty ), an accomplished Kambala athlete, and a good-for-nothing illegal poacher, and the son of the Bhuta Kola performer. (Bhuta Kola is a sacred ritual, which Shiva refuses to perform. This might have something to do with his last memory of his father, who disappeared into the forest while performing a Bhuta Kola.) 

Murali devises a plan to apprehend Shiva and his gang, but the forest seems to be on Shiva’s side and Murali is the one who is injured in the process. Capitalizing on this opportunity, Shiva and his companions go underground to evade capture, ultimately returning to their village to reunite with their families. Regrettably, their respite is short-lived as they are apprehended by the police and forest guards the following morning.

The Twist in the Tale

All this time, Devendra, the village's landlord, has seemed like the good guy, but we now learn that he’s one of the bad guys. He tries to bribe Shiva’s brother into working with him to convince the villagers to give up their land — Shiva’s brother, Guruva, performs Bhuta Kola — but Guruva refuses. Devendra kills Guruva and turns his attention to Shiva. Manipulating Shiva's emotions, Devendra makes Shiva think Murali killed Guruva. 

However, Shiva figures out the truth about Guruva and exposes Devendra's land-grabbing motives to the villagers. The revelation of Guruva's murder by Devendra ignites a call to action, uniting Shiva and Murali in a joint effort against the landlord. 

A climactic clash ensues in which forest officials join hands with the villagers and fight Devendra and his army of men. In the bloodshed, several lives are lost. Devendra and his henchmen dominate the killings.

The Final 15 Minutes

During the climax of Kantara , Shiva's connection to Panjurli becomes more pronounced as he strikes his head against Panjurli's stone, and seems to be possessed by Panjurli’s companion deity, the vengeful Guliga. Shiva becomes almost superhuman as he assassinates an army of Devendra’s men. Finally, he stands tall in front of the landlord and declares, “Did you forget the guide, Kshetrapala, the guardian deity? My lord Panjurli might have forgiven, but I will not. As a consequence of your deeds, by offering your blood to this soil, I shall upload its righteousness.” In one quick slash, he eliminates Devendra.

In the concluding scene, we see Shiva perform a Bhuta Kola and embodying Panjurli's spirit. Murali is in attendance, as are other villagers. Towards the end, he has the forest official join hands with the villagers over his chest – promoting unity and harmonious living in the future. The message is simple: So long as the inhabitants of the forest work together to maintain peace, the forest will thrive with them.

Then, unexpectedly, Shiva runs into the forest , just like his father had years ago. Much like his father had left his family behind, Shiva leaves behind an unborn child and the suggestion is that this child will continue the Bhuta Kola tradition. Panjurli will continue to intervene when human greed takes over. Equilibrium will always be restored. 

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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 Ending Explained: How Did the Drama-Thriller End?

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In Indian cinema, there are many movies that often tread the fine line between folklore and reality. Rishab Shetty ’s magnum opus, Kantara , stands as a testament to the intricate weaving of mythology and societal complexities . In this film viewers embark on a journey through the picturesque landscapes of a forest village. They are confronted with questions that transcend the boundaries of time and ownership.

Check the trailer out here:

How did Rishab Shetty’s movie Kantara end?

To understand the meaning of what happened in the end, let’s dive into what transpired in the film. The story unfolds in 1947 when a mighty king grants land to the indigenous villagers. In order to seek the blessing of the deity Panjurli Daiva.

In 1970, the peace gets disrupted when a descendant of the king demanded the land back during the Bhoota Kala performance. It is a folklore performance where the deity possesses a chosen villager and dances to folk songs. He also blesses the village while stating that the forest and its resources are protected by the deity himself.

View this post on Instagram A post shared by Hombale Films (@hombalefilms)

Ignoring this warning as a rouse by the possessed actor himself, the landlord declares he wants his land back. Panjurli makes a prophecy that his fate will be decided on the steps of a building. The landlord dies on the steps of a court where he had gone to reclaim the land.

Fast-forwarding to the early 1990s, a new landlord emerges who is friendly with the villagers. Shiva (Rishab Shetty) is a village favorite. He is treated well by the landlord as well. He is known for living the way he wants to, such as drinking alcohol, hunting wild boars, and more.

The authorities appointed Muralidhar (Kishore) as the new forest officer. He is solely focused on the preservation of the forest. Balanced against not letting the villagers cut any trees or get resources from the forest. This soon leads to a clash between Muralidhar and Shiva.

Did Shiva really die in the end?

As the movie unfolds, the real threat is revealed. The true threat lies in the shadows of the seemingly friendly new landlord, conspiring to reclaim the land. This revelation came to the surface when he framed Shiva for a seemingly accidental death.

It’s important to note while all this was transpiring Shiva was also having a recurring nightmare of a wild boar with metallic teeth and seething eyes. The background music throughout the movie “Varaha Roopaka Daiva Va Rishtam,” served as an ode to wild boar (Varaha). Consequently, it is also one of the avatars of Vishnu.

At this point, the tension escalates and the village prepares itself to fight. Despite their lack of firepower, they stood united against the casteist landlord and his ruthless goon. Shiva dies during the fight.

However, Kantara doesn’t end there. The deity Panjurli Daiva himself soon resurrects Shiva. Watching this the entire village prays for vengeance and protection. In a cinematic climax of one-of-a-kind, Shiva destroys the landlord and his goons.

After restoring the village peace, Shiva now a vessel of the deity goes back to the forest – disappearing into a circle of fire. All in all, Kantara’s ending is a mix of justice, sacrifice, and embracing destiny. The cyclical rhythm of fate, the clash between tradition and modernity, and the triumph of righteousness form the heart of the story.

Kantara blends folklore, drama, and thriller elements in a 2-hour 30-minute cinematic experience. All in all, it leaves no room for disappointment.

Kantara is currently streaming on Netflix .

The post Kantara Ending Explained: How Did the Drama-Thriller End? appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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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.

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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?

Kantara related news stories.

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Kantara Twitter Review: Tweets You Should Go Through Before Deciding To Watch This Action Drama!

Written and directed by Rishab Shetty, Kantara is an action drama set in the backdrop of a village. The story is set in a tone where villagers fight with evil forces in the form of human obstacles to restore peace. The movie depicts the culture of Kambla and Bhootha Kola.

The movie was released amid decent expectations on September 30 and is one of the high-budget films in Kannada from the recent past. The film stars Rishab Shetty, G Kishore Kumar, Achyuth Kumar, Sapthami Gowda, Vinay Bidappa, Deepak Rai Panaje, Suchan Shetty, Ragu Pandeshwar, and Pramod Shetty among others.

A few moviegoers who watched Kantara a bit before the rest have taken to social media to share their opinions on the film. They have put out some tweets about the film. Read them here:

SR Prabhu @prabhu_sr · 10h #Kantara is yet another good film in the new Kannada wave!! Writing, making & the story of the soil..! Everything works well with goosebump moments!! Congratulations @hombalefilms @Karthik1423 and the showman @shetty_rishab

Rajasekar @sekartweets Loved the Kannada film #Kantara , the writing is very rooted and powerful . Take a bow @shetty_rishab (Award-winning performance in the climax 🔥🔥PS: He is also the dir of the film). The production value and action sequences are lit, superb work by the technical team. ⭐️⭐️⭐️⭐️ Kantara - Though the film is set in the rural backdrop, the producers @hombalefilms have spent big so that there is no compromise with the quality. Visually stunning! They are the torchbearers for the quality Kannada films these days, kudos!

Amulya @nimmaamulya #Kantara Rishab sir your eyes spoke everything,whatta performance was it @shetty_rishab sir,can't take my eyes of you @VKiragandur hombale made us more prouder @Karthik1423

@gowda_sapthami ur daring acting❤️loved our rich culture.hats off to this team 🫶🙏

RJ Raja @rajaduraikannan Watched #Kantara The plot of the movie is too good. Their culture and way of life have been described beautifully in a wonderful story. Each & every character acting is so natural. Even comedies also worked well. Just Wow❤️ @hombalefilms

@Karthik1423

@shetty_rishab

Sangeetha Sringeri @sangeethaSring #Kantara what a film, goosebumps throughout! mind blowing performance by @shetty_rishab , @gowda_sapthami and all artists 👏 a must watch film, am gonna watch it again, and may be again n again! ❤️

Anup Bhandari @anupsbhandari Take a bow @shetty_rishab ! #Kantara is your best work yet! Took me back to my childhood days 😊. Great work & Congrats @gowda_sapthami

@actorkishore

@AJANEESHB #Aravindkashyap @VKiragandur

@Karthik1423 and the entire team

Thyview @Thyview #Kantara is entertaining from start to finish. @shetty_rishab shines as both the director as well as the actor and puts forth a career best display in both roles. The first half builds the world, establishes character motivations and the second half is a cathartic payoff to the scenes in the first half. Overall, Kantara is a well-written and well-executed film with many highs and almost no lows.

Rajashekar|ರಾಜಶೇಖರ್ @Naanuraj · 6h Went to the #Kantara premier trusting The Director @shetty_rishab but came out as a die hard Fan of "The Actor" Rishab. That last 15-20 mins had one of the best performances ever by an Indian Actor. Come on Kannadigas and Namma Tuluvas let's make this Masterpiece a Blockbuster

Harshit K Kulkarni @harshitkk11 Last 20 minutes of #Kantara does so injustice to the whole film. The climax scene just makes you forget the whole movie. What a movie!. @shetty_rishab sir, it's illegal to be so good 🫡

Speaking about the film, its maker Rishab Shetty was quoted saying to a newspaper, "It is a film from our land, from our roots, stories that have been passed on to generations which are deeply rooted to our culture. The more regional a story, the more global it can get. The movie, Kantara, is a film for children as well."

He further added, "I have a dedicated team of technicians and professionals who help execute my vision. I won't be able to achieve anything on my own without their help and any appreciation or credit will be shared with all of them." Kantara is produced by KGF 1 & 2 filmmaker Vijay Kiragandur under his Hombale films. The film's music is composed by B Ajaneesh Loknath and is edited by Prateek Shetty and KM Prakash. Arvind S Kashyap cranked the camera for Kantara.

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Kantara has shown what life in remote hamlets of tribal areas is all about through an intricate tapestry of music (B Ajaneesh Loknath’s score is impeccably rousing as well as heartstoppingly beautiful), dance and drama.

A friend from Bihar exclaimed over the phone during the Deepawali weekend. “What’s this film,  Kantara  that has made everyone’s mind go  dhuan dhuan  in towns and villages here?!” For the uninitiated, it’s typical Deepawali imagery to denote excitement over something. So, imagine the effect Rishab Shetty’s moneyspinner has had on the Hindi belt that even the average film lover in the remotest part of Bihar couldn’t evade its fascinating grip. Bihar, a place, you might reason, that possibly has no clear similarities with Tulunadu’s interiors, where  Kantara  was filmed and where the lore is based. But then, if you think in the context of Bharat’s ancient beliefs of Hindu religious rituals, traditions and customs, every part of this country is bound by a common thread of devotion. That is the call of divinity  Kantara  has evoked in the majority.

Backed up by nil explanations or justifications Shetty’s treatise is an unapologetic celebration of the indigenous beliefs of Tulunadu’s tribal Sanatan civilization. Released roughly a month before Hindus in the country celebrated Deepawali, its success also resembles the emphatic manner in which the festival was observed this year in the face of constant communist propaganda to deride, mock and target only Hindu festivals. Just like we did Deepawali this year with Indian mithai and magnificent firecrackers,  Kantara  proudly and boldly flaunted its Hindu identity by crafting a riveting saga depicting the Bhoota Kola traditions observed in the forest villages there. The layered narrative incorporates many important subjects and elements about land conflicts, the role of women and human flaws and follies but every subplot is deftly balanced without any shred of guilt or remorse. That is another beauty in the magical world of Kantara, which has found praise and love from the masses not only in India but also in the world for its nuanced and relatable content. 

The fierce feeling of Deep Devotion

While it is unfair to give out spoilers here but any discussion on the film would be incomplete without referring to the spectacular climax where the protagonist Shiva (played by writer and director Shetty himself) finds himself empowered by the call of Guliga, the Daiva who destroys those who wrong the villagers. Be it in the body language, the dance or the expressions, there is an unrelenting display of passion in his war cry as he vanquishes evil. The imagery is almost of an angry Shiva doing the  taandav  of destruction after being invoked by Daiva (the hero’s personality arc is also drawn on the lines of Mahadev where he is seen to destroy as well as protect.

His tree house, where he hangs around with his friends, is also named Kailasa, a direct reference to Bhagwan Shiv’s eternal abode). Threading together a religious tradition practised in Tulunadu since ancient times, the movie celebrates an art form but does it with deep devotion. Honestly, the cinematography and choreography touch a raw nerve in the audience who feels the divinity depicted. It’s almost as if the audience finds a voice that cries out, “Yes, this is our culture and we shall own it. Whoever tries to belittle these beautiful traditions of ours, we shall silence them with the strength in our beliefs.”

Considering that the climax, which binds the entire story in a comprehensive whole, is the high point of the blockbuster, the film has given a fat chance to the Hindu majority to be proud of their religion, traditions, beliefs and customs unapologetically. The time to clam up is over. The film is representative of the fact that today a Hindu is much more enthusiastic and bold about flaunting visible symbols of his faith. Earlier, under the attack of the Left and Islamist cabal, he might have been ashamed to celebrate his traditions and icons openly but this marks an inner shift in the identity of self-acceptance and pride. The Hindu has found his voice and it is here to stay!

Chronicling the true colours of an Indian village

The Indian parallel cinema movement, with communist/socialist narratives rampantly brainwashing viewers, had always painted Bharatiya villages as depressing, joyless lands. This resulted in the masses getting disillusioned by the picture of dismay presented of their heritage and roots. Kantara’s legends are derived from the divine land of Tulunadu which is blessed with thick rainforests and a rich culture deeply rooted in tradition and the lore of the land. Every frame of the film is an ode to that diversity. From Kambala racing, and Yakshagana to Daivaradhane, every single aspect of local culture is sensitively depicted with the respect it deserves without belittling them as ‘folk culture’ or attempting to trivialise ancient beliefs, in the name of modernisation. Instead, Shetty’s pen delves deep to maintain the delicate balance between nature and human activity. The glorious co-existence of tribals and the respect they pay to nature is incessantly harped upon. 

Every frame (the cinematography by Arvind S Kashyap is a charming play of rustic originality and passionate candour) is a detailed, authentic representation of the rural culture, lifestyle and lands of Tulunadu, from the rain-splattered dirt paths, the mud and cow-dung tulsi Vrindavanas, the adike shringara, the humble but practical clothes or fresh arecanut flowers offered to the Daiva to the outdoor bathrooms built from woven palm fronds. If masses from all over India found a resonance with the film, it also means these vignettes remind them of their village roots and homes they probably pined for sitting in urban concrete jungles. Shiva and his pals live simple lives, and eat frugal (but fresh) food, but they nurture mutual respect and love for each other. They fob off problems by supporting each other and not once does it look like they hate their lives in the village. In fact, such is their devotion towards their motherland that they go to great, and spiritual, lengths to protect it from the evil eye. 

Rationalising the Nature and Man conflict  

J Sai Deepak’s  India that is Bharat  studies the sacred bond between Mother Earth and humans that Bharatiya culture always nurtured and worshipped through effective modes to balance the need for preserving nature with human desires and aspirations. The concept of sacred forests, water bodies protected by guardian deities or worshipping rivers as sanctimonious entities were all Hindu ways of protecting and preserving the purity of nature. Colonial rule tried to uproot all these traditions and indigenous ways of eco-protection under the guise of modernity. Local communities were forcibly stripped off of their roles as sacred custodians of the natural environment, and that role was usurped by the state.

The film clearly depicts how this has given rise to conflicts between an all-powerful state that neither understands nor respects local traditions as well as culture and communities that are no longer stakeholders. This struggle enables selfish elements to exploit nature at the cost of both, the state and the communities. The devious landlord represents this mindset. Kantara thus becomes a dialogue to reclaim the holistic balance between Mother Nature and human activity through age-old traditions and culture. Offering hope, the narrative hints that the state-community partnership can possibly be a respectful solution to the man-nature conflict. Local communities need to identify themselves as sacred custodians of the environment, and the state machinery can enable that. How impeccable would that settlement be! 

Reclaiming our civilizational roots

Kantara  has shown what life in remote hamlets of tribal areas is all about through an intricate tapestry of music (B Ajaneesh Loknath’s score is impeccably rousing as well as heartstoppingly beautiful), dance and drama. Simple lives, meaningful rituals, drinking habits, food traditions and finally, their beliefs and reverence for their Gods are all shown through a narrative that is relatable to the masses so that the effect is supreme. The love story, quite practically shows that carnal desires are part of the emotion but nothing is cheap or crassly presented. Women have a strong voice and an important role to play in the film. They are not merely sidekicks. Human flaws are not hidden in the script but neither are they harped on. In fact, this realism and fine-tuning is what makes  Kantara  a sensorial and spiritual delight. If a cultural renaissance could be transcribed through cinema, Rishab Shetty has shown how that is to be done. Perhaps the audience has understood through this movie that it’s high time we recognize the good work happening in cinema and reclaim our roots through that powerful vocabulary. 

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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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Kannada cinema / Indian cinema

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‘Kantara’ Ending, Explained: What Happens To Shiva? Is He Dead Or Alive?

When mass comes with a tight storyline, it delivers a class that sets it apart from the rest. The complete name of the movie is “Kantara Dhanta Kathe,” which loosely translates to the legend of the forest. True to its title, it brings together legend and magic with the lives of the people in a narrative that manages to expertly comment on the insidious nature of the caste system itself. The intelligence of the movie lies in how easy it makes it for the viewer to accept its genre-breaking storyline. Not to mention the visual treat that it delivers, which is a treat to watch on the big screen. This film can be praised endlessly but let us get to the events of it first.

 Spoilers Ahead

The Conflict Between The Villagers And The Police

“Kantara” starts in 1847 when a King grants the forest land to the local tribes in exchange for peace and protection by their God-the Panjurli Daiva. He is warned that though the families will continue to serve the God, any attempt to go back on his word will incur the wrath of the God. Cut to 1970: The descendant of the King wants the land back. He asks for it at the Bhoota Kola festival. It is essentially a coming together of music, dance, recital, and costumes. The person performing it is Shiva’s father, and it is indicated that he is possessed by the God himself at this time. In the discussion between the King’s descendant and the vessel of the God, “Kantara” made the creative decision to keep the latter’s dialogues in Kannada while translating only the former’s words. We could understand that in their exchange, Shiva’s father had warned him about the consequences of withdrawing from the promise of his ancestor and had subsequently run off into the forest and disappeared in a burst of flames. A few months later, the man dies while in the middle of the process of reclaiming the land.

The storyline jumps forward by 20 years. Shiva is all grown up and is the local Kambala (bull racing) champion. But this doesn’t sit well with the henchmen of Devendra Suttooru, who is referenced as “Dora” throughout the movie, which means the head or the caretaker. He is the current descendant of the King and is the go-to man for village affairs. Dora settles the fight by schooling his guys and telling them that they must stand together as one village. Back to Shiva: he is just someone without a real purpose in life and takes every day as it comes. His life starts to change with the entry of the new forest officer, Muralidhar. He has to make sure that the conversion of the land to “Reserve Forests” is done, but he lacks the tact to deal smoothly with the occupants. This often puts him and the villagers, mainly Shiva, at loggerheads. Things come to a head when the police force fences off the forest land, which turns a large chunk of the villagers into encroachers. This is especially troubling because Leela, who Shiva is in love with, is one of the forest guards, and this happened on her first day of work. She is shunned by Shiva and the villagers alike, but things only get worse from there on. He and his friends start operating in the middle of the night to escape the watchful eye of the inspector. However, things don’t go as planned when, on one particular night, when Shiva and his friends are in the middle of felling a tree, it accidentally lands on a police vehicle, gravely injuring the people inside. This causes the group to go into hiding. One night, when they all come back to meet their families, they are caught, one by one, except Shiva. He goes to make up with Leela. They reconcile their differences and spend the night together.

The next morning, Shiva expresses that he wants to surrender to ease the troubles of the village, but as his luck would have it, the police are already waiting for him. He is arrested, and in the process, Muralidhar is gravely injured due to his own folly. We would like to take a moment to point something out here: the movie has received a lot of praise for its storyline and imagery, which has been called path-breaking in some spheres. But none of that could manage to save it from the tired trope of using women as nothing more than the hero’s love interest, who is objectified as much for the audience as for the male lead. Seriously, Shiva has no problem touching her without her consent or being violent toward her. Sadly, the “Arjun Reddy/Kabir Singh” school of thought is deeply embedded in South Indian cinema, and it is all entirely acceptable as long as you are the “hero.”

Anyway, the story starts unravelling further once he is behind bars. Dora has some not-so-good intentions for the village. He tries to convince Guruva to relay the word of the God as wanting the villagers to sell their lands to him. When he refuses, Dora stabs him and disposes of his body in the village. Elsewhere, Murali is having a discussion that it is necessary to cover the land to reserve forests soon enough as Dora has registered all of the lands under his name, and this could lead to the villagers getting exploited. Dora comes to know of this. Raghav gets Shiva out on bail, but Dora convinces him that he has ulterior motives behind this. He also instigates Shiva by lying to him that the person to kill Guruva is Muralidhar.

Shiva is engulfed in a fit of rage, but he goes to meet the local blacksmith instead and does some recreational drugs for clarity. The man tells him that he saw Guruva with Dora right before he was killed. Unknown to them, Shiva has been followed by Dora’s henchmen, and they plan on killing him. What follows is an example of why “Kantara” deserves the praise it’s getting. The action scene where Shiva thwarts the goons is pure art. It’s been a long time since we saw such raw emotion executed with such style.

‘Kantara’ Ending Explained: What Happens To Shiva? Is He Dead Or Alive?

Back in the village, the people have come to know Dora’s true nature. Shiva comes on the scene and informs them that he is also responsible for the death of Guruva. It is time for the final act, for the final battle, as Dora comes armed and ready to take down everyone in his way. But the villagers are no less geared up for a fight. What follows is a pure visual splendor, which is executed with such grace that it leaves you breathless. But it doesn’t come with a happy ending. Dora manages to kill Shiva, and the villagers lose all hope. But tides can turn anytime, sometimes for no other reason than to prove a miracle. Shiva has always had nightmares about a boar that attacks him as well as hallucinations about a God in the forest. But that day, he had conquered his fears. He was the descendant of the host of the God, and in times of need, he came to protect. The God possesses Shiva and wreaks havoc on the assailants. He kills Dora and all of his henchmen, removing every obstacle to the village. Cut to a few months later, and Shiva, who is still possessed by the God, is performing at the festival. He brings together the hands of the villagers and the officials in a gesture telling them to protect the forest with each other’s help. At that exact moment, he hears the shriek from the forest and runs towards it. It is the shriek of his lost father and the God, who are one and the same as they have been for years. They meet again in the circle of fire and disappear without leaving a trace, as their job is done. Years later, Shiva’s son asks questions about his father’s disappearance, and he gets a smile in return, maybe predicting that he is going to have a similar fate.

Final Thoughts: What Works For ‘Kantara’?

You really cannot go wrong when the hero of a film is the story. There was a certain authenticity and rawness in the elements, like the Bhoota Kola festival and the Kambala competitions, that added to the movie. The biggest plus point for the movie is that it did not shy away from showing its imperfections. The actors looked believable as their characters, which strengthened the narrative. They were not just acting, but they had to shed their inhibitions at a level that is a testament to their expertise in their craft. By the looks of it, it is a mass entertainer, but you know immediately enough that it is just a cover. It certainly seeks to entertain, but it does not cater to anyone, and that is a movie with spirit. “Kantara” is one such film, and it also comes with a high rewatch value. If you had to watch one good film this week, month, or year, let it be “Kantara.” Your life will be all the more enlightened for it.

“Kantara” is a 2022 Drama Thriller film directed by Rishab Shetty.

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Kantara Ending Explained | Deities Shown In Kantara

Kantara Ending Explained : A Blend of Folklore & Action intertwined together has been presented to us in the form of Kantara which has made its way to the theatres near us. Not only it is a visual stunner with a brilliant take on native folklore.

it has a beautiful story in it about two deities that are still being followed. The ending of the film is quite interesting to look at but for that, we would need to understand what is the film actually about and how does Shiva play by Rishabh Shetty fit in there.

Kantara is about a large piece of land that belongs to a King/Landlord who has everything other than peace of mind and searching for that, the king finds a deity so full of warmth and inviting that he wants to keep it to himself and take it away but it is a villagers/commonfolk’s deity and upon heartfelt request, the deity agrees to come with the king on one condition that when the deity screams, the land until where the screams go shall be given to the villagers/commonfolk and in future if that promise is broken, there will be revenge.

The two deities Panjurli & Guliga are the ones that go with the king but if the promise is broken, Panjurli being the forgiving one and a part of Lord Vishnu will forgive him but Guliga wouldn’t and would come for revenge.

The deities come to only a specific person in a ceremony called “Bhootha Kola” and the story revolves around the landlord’s family and the family of the person to who the deity comes. Shiva played by Rishabh Shetty is one of the two brothers whose father had disappeared after getting possessed by the deity and then running off to the forest. Shiva’s older brother gets killed and that leaves him to do the ceremony of “Bhootha Kola” and call the deity inside him.

READ :  Kantara Review: Brilliant Blend of Folklore & Action

In the end, after the landlord comes with his goons and starts to murder the villagers, Shiva is finally possessed by Guliga and takes his revenge for the exploitation that he has done and for killing innocent people for the land.

In the end, Shiva is doing another ceremony of “Bhootha Kola” and is possessed by Panjurli who seems to be very with the Forest Department Officers who have been doing everything to keep the forest & reserved land safe and takes their hands and embraces them and leaves the ceremony to go into the forest where he meets with his father or Guliga and they both look at each other smiling and disappear again.

Before Shiva disappears, we see that his wife is pregnant and in the last scene, we find his son asking if the disappeared person came back or not and Shiva’s friend softly smiles being proud of Shiva and the film ends.

The film ends by showing us that the rituals have been there long before and they will stay for a long time and Shiva’s father and brother did, and his son would be doing the exact same thing, doing the ceremony of “Bhootha Kola”.

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"I'm just a humble cinephile with a knack for stringing words together. My reviews may not be as fancy as "The Grand Budapest Hotel" but they'll give you a good idea of whether a movie is worth the ticket price. I may not be a "Casablanca" of criticism, but I'll always give you my honest opinion. So join me on this journey of cinematic discovery, it's sure to be "One for the Ages."

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thank you for the explaination ,since the movie isnt available here i was bit curious abiunt the movie but i couldnt watch in streaming platforms so you really satisfy me, thank you again

Me and my family watched this one together, during climax we felt the energy of Guliga flowing all over us, breath taking experience…. Thanks Rishab for such an immersive performance l!!!

Beautiful movie and the climax is very nicely explained

Yaah perfect execution brilliant performance by Rishabh Shetty superb movie 👍 & all other artists also did superb acting

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Kantara Movie Final Scene, Story, Spoilers And Ending Explained

• Marukho Pfozhe
• Oct 17 2022

https://thesportsgrail.com/kantara-movie-final-scene-story-spoilers-and-ending-explained/

The recently released Kannada film Kantara, stars Rishabh Shetty as Shiva, given below is the explained ending for fans who are curious but haven’t watched, along with other details of the film

The word ‘Kantara’ means the mystic forest and the film is an amalgamation of folklore with the story of a village that is protective of its surroundings.

Kantara Final Scene, Story, Spoilers And Ending Explained

#Kantara is cinematic scintillating experience one should not miss, captivating background score,brilliant cinematography, Splendidly directed & flawlessly acted by @shetty_rishab ,the climax gave me goosebumps with moist eyes. I am just Spellbound.Congrats to the entire team.🙏 pic.twitter.com/13R3KMZAFd — Madhur Bhandarkar (@imbhandarkar) October 17, 2022

Watched #kantara ..totally totally loved it❤️Congratulations to whole team…u all we’re amazing😊thanks for all the experience @shetty_rishab @VKiragandur @hombalefilms @HombaleGroup @gowda_sapthami @AJANEESHB @actorkishore @KantaraFilm #KantaraInCinemasNow ..don’t miss it😊😊🧿 pic.twitter.com/RU68jiTnhY — Anushka Shetty (@MsAnushkaShetty) October 16, 2022

The film was released in theaters on September 30, 2022. It stars Rishab Shetty, alongside actors like Sapthami Gowda, Kishore, Achyuth Kumar, and Pramod Shetty.

‘Kantara’ Film Plot

‘Kantara’ begins with a king seeking for peace and happiness within his palace. Eventually, he sets out on a pilgrimage and comes across a stone deity.

He drops his weapon, realizing that the deity Panjurli is the answer to attain happiness. Following the discovery, the King requests the villagers’ help in taking back the stone to his palace.

Meanwhile, the possessed Kola ritual performer informs him to take along the Guliga deity with him as well. He warns that Panjurli is forgiving but defying the exchange terms would bring about Guliga’s unforgiving wrath, to which the King agrees.

A century later, one of the King’s descendent demands the possessed performer to return the land to his family, and prove his godly powers.

The performer disappears into the forest immediately, just after he predicts the descendant’s untimely death on the court stairs.

Decades after the Kola performer’s disappearance, his son Shiva (Rishabh Shetty) emerges as a Kambala athlete. Shiva lives aimlessly, drinking alcohol, smoking ganja, and hunting wild boars. He doesn’t want to follow in his father’s footsteps.

He lives with his mother, uncle, and cousin, who has taken over the responsibility of being the Kola performer during every Bhoota Kola festival. Shiva and the entire village are on good terms with the landlord, the current descendent of the King.

Over time, a new forest officer, Muralidhar (Kishore), who is not interested in the villagers’ beliefs or customs is appointed. He only cares about preserving the forest and stops the locals from cutting down trees and other vegetation.

His interests clash with Shiva and the villagers. Meanwhile, Shiva’s girlfriend, Leela, also becomes a forest officer, forced to go against her townspeople and follow Murali’s orders.

The clash between Shiva and Muralidhar forms the main base for the film’s plot.

‘Kantara’ Final Scene And Ending Explained

Read below to learn the explained ending and final scenes of Kantara.

In the film’s final scenes, the tension between Shiva and Murali attains its peak when a huge tree in the forest falls on Murali’s car, while he was headed to arrest Shiva after the landlord’s henchman, Sudhakara (Pramod Shetty) provided a tip.

The landlord instructs Shiva to run but he is soon arrested along with his friends. Things intensify when it is discovered that Shiva’s brother Guruvan the Kola performer has been murdered.

The landlord, Devendra Suttooru (Achyuth Kumar), is behind the murder because just like his father, he believes the villagers and the performer created a story to deprive him of his ancestral land.

However, the villagers, at this point, are unaware of this. Meanwhile, while making efforts to convert the forest into a reserved forest, Murali comes to know that the landlord has illegally taken control of the entire land in his name.

Shiva soon finds out about his brother’s murder and the landlord bails him out to get Shiva by his side, while lying to him that Murali killed his brother.

However, Shiva’s mentor informs him the truth behind Guruvan’s murder and he heads back to inform the villagers.

There, Shiva finds Murali, who is already informing the villagers of the landlord’s misdeeds. Shiva joins hands with Murali as the landlord is on his way to kill the villagers, including Shiva and Murali.

Following a clash, Shiva passes out after getting severely wounded. Soon, the Guligan deity possesses him giving him immense strength and he decapitates the landlord and his henchmen.

The film ends with Shiva accepting his role as the Kola performer possessed by Panjurli for the Bhoota Kola festival. He yearns for peace between Murali and the other villagers. Shiva runs off to the forest and seemingly finds his father and disappears into the light.

Use Of Imagery In The Film

“Kantara” involves a lot of hard to ignore visual imagery. Just like “Karnan ” and “Tumbbad,” each imagery has a meaning attached to it.

The recurring dreams of his father as the Guliga possessed performer is an indication that Shiva should carry forward the practice of a Kola performer for the festival.

Shiva also sees visions of his father screaming a divine sound that shakes him up while he is awake.

While Shiva hunts the boar with his friends, his mother repeatedly yells at him for not doing so, as the deity Panjurli comes from the third incarnation of Vishnu, Varaha.

Shiva, though, isn’t interested in performing but is attached to the village, villagers, and customs they follow.

At one point, he confronts Murali informing him that the forest belongs to the deity, and it doesn’t need any protection from anyone.

Writer Rishabh Shetty conveys the existence of divine power and the strength of the deity to eradicate everything wrong through various imagery.

Hidden Narratives

The folklore is infused so much into the narrative that it becomes inseparable. The horror and the supernatural elements come across beautifully, adding a layer to the storytelling.

The attachment the villagers have with the nature surrounding them is purely to continue the tradition they and their ancestors have been following for years, without any ulterior motive.

‘Kantara’ projects nature as the binding force that protects the people who take care of them and the villagers who go miles to take care of them.

There is also a narrative explaining how the villagers are dependent on the forest for the vegetation, while Murali tries to stop the villagers from doing so.

This narrative asks questions about why villagers can’t collect produce from the forest when they spend most of their life protecting it. It is a cycle where they are all dependent on one another.

The Varaha Roopam Daiva Va Rishtam Song

The Varaha Roopam Daiva Va Rishtam song is a perfect addition to the movie. It talks about the deity’s emotional attachment to the village and the forest, and how the deity would go miles to protect it from evil forces.

The song sounds eerily like Thaikuddam Bridge’s Navarasam. The Panjurli possessed performance throughout the film is a piece of art where the divine power shines effectively.

Just like how the King surrenders to it, viewers will also find themselves surrendering to the deity’s force. The divine scream that the Kola performer hurls also comes off as a sound backed by divine power.

Overall Review

‘Kantara’ has so many good points to it. The cinematography by Arvind S. Kashyap gives a mystical and spiritual touch to “Kantara.”

The film uses fire and its elements to showcase it as the only power that leads to the right path. The screenplay and direction by Rishabh Shetty don’t slow down.

Viewers can expect a spiritual ride filled with folklore, mythology, and supernatural forces throughout the movie. Rishabh Shetty ensures that the underlying theme of the film remains the conservation and protection of forests.

Among the actors, Kishore as Murali, the forest officer, and Rishabh Shetty as Shiva stand out. Rishabh as the performer possessed by Guliga at the end in particular is a must watch.

Rishabh’s character embraces the deity with full force and brings out so much power through the performance.

Overall, the film does not disappoint at any point of time during its running time of 2 hours 30 minutes.  Hopefully the above explained ending and final scenes gives viewers a reason to watch “Kantara”.

“Kantara” is currently running in theaters and fans can soon watch it on Amazon Prime Video.

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