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

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

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

Kantara by Rishab Shetty is a beautiful concoction of thrill, action and mythology.

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

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

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

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

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

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

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

Director: Rishab Shetty

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

Kannada Film

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

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

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

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

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

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

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

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

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

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

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

Director : Rishab Shetty

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

Ratings : 4 out of 5 stars

(This story originally appeared on Cinema Express )

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KANTARA MOVIE REVIEW 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

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

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

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

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Kantara 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' review: Rishab shines in a technical marvel

Kantara Kannada (Theatres) Director: Rishab Shetty Cast: Rishab Shetty, Kishore, Achyuth Kumar, Sapthami Gowda Rating: 3.5/5

Something is alluring about movies that tell tales of rural hinterlands. The rustic charm of people and their strong belief in folklore and traditions offer a curious pleasure to those caught in the grind of city life.

In ‘Kantara’, director Rishab Shetty introduces this world to us in a terrific opening stretch that shows how the King in a village amidst a forest in Kundapura donates various areas of his land to the villagers for a ‘special’ stone. The event happens under the instruction of ‘deiva’, the demigod that guards the village.

From the 1870s, the plot shift to the 1990s, where we see a rebellious Shiva (Rishab) taking on a forest officer (Kishore), who is upset with the shrinking space between man and nature. Amidst this, there is also a landlord (Achyuth Kumar) who seems to support the locals when government intervention spells trouble for the village.

The visual style of ‘Kantara’ reminds you of the uncontrolled chaos in Lijo Jose Pellissery’s films. It’s amazing how Rishab, like the Malayalam filmmaker, takes less time to establish the setting. ‘Kantara’ also attempts to expose the uncomfortable truths of the human mind, a concept explored to greater extents ‘Angamaly Diaries’ (2017) and ‘Jallikattu’ (2019).

Episodes that celebrate the spirit of coastal Karnataka offer an immersive experience. If you thought we have seen enough specificities of the region in previous films ('Ulidavaru Kandante', 'Sarkari Hiriya Prathamika Shaale', 'Garuda Gamana Vrishabha Vahana'), then you will be proved wrong. Right from food to dialect to sacred customs to a host of quirky characters (Prakash Thuminad takes the cake as a horny man), 'Kantara' is an engaging cultural tour.

The efforts of Ajaneesh Lokanath and Aravind Kashyap make ‘Kantara’ a technical marvel. There is a constant shift in mood in the film and Ajaneesh’s background score, at every turn of the plot, is dipped in authenticity. The use of different sounds complements the film’s folk flavour.

Aravind goes beyond just celebrating the scenic landscape of the Western Ghat region. He supports the movie’s dark tonality. His camerawork is marked by an adventurous energy, especially in the racy and explosive portions.

Apart from being technically rich, ‘Kantara’ is a film filled with terrific conflicts. Yet, it keeps you at an arm’s length as far as emotions are concerned. The director in Rishab succeeds in exuding unconventionality on screen but the writer in him fails to construct solid character arcs.

For instance, it’s a great idea to make a woman (Saptami Gowda in a weak performance) from the community work for the forest department, which the villagers detest. But Rishab doesn’t flesh out the character’s full potential, just like he keeps the forest officer’s balancing of personal and professional conflict at a generic level. This hampers a usually-reliable Kishore’s performance as he is forced to remain one-note.

Similarly, the landlord's vested intentions are revealed without any build-up but given how brilliant Achyuth is, the character’s sudden switch in the trait is made invisible by his effortless transformation.

Having shared the screen with gifted actors, it has taken a career-best effort from Rishab to emerge the best. His internal preparation and the hard work to perfect the external makeover for the stylised bhoota khola performance are commendable. He gets into a different zone in the jaw-dropping climax, which comes after an ambitious yet exhaustive action sequence. Rishab’s stunning act in the final 15 minutes is sure to be discussed for a long time.

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Kantara Review: Lavishly Shot Folklore Story

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

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

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

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

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

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

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

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

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

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

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

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

Drawback: Middle portion Cliched jokes

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

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

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

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

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

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

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

Bottom line: A different experience

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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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James Movie Review: In A Film That Gives Message Of Friendship, Puneeth Rajkumar Emerges As One Man Show

James , the final feature film by Puneeth Rajkumar has been released today (March 17). Fans have been visiting the theatres with an emotional heart as this happens to be the Power Star’s big release on the silver screen after his untimely demise. And we are happy to report that they haven’t been let down by the writer and director Chethan Kumar.

James narrates the story of a guy who is on a mission to destroy gangsters who have been spreading terror with their corporate-style international drug mafia. In between, the commercial film presents a few twists but the key highlight that makes this movie a special one is Puneet Rajkumar.

Santosh (Puneeth Rajkumar), a powerful man in a security agency named J Wings, is hired to provide security to an international drug mafia gangster. Even though his job was to provide security, how the lead protagonist manages to secure the law and destroys the drug mafia forms the crux of this stylish thriller.

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Appu is a one-man show in the movie. The superstar’s entry will make fans flock to the theatres. Santosh (Puneeth Rajkumar) is unstoppable no matter how many villains come in his way, he manages to destroy them with utmost ease and swagger. However, to know the reason why the hero starts a security agency and provides protection to the drug mafia gangsters, you need to watch the movie.

There are also some twists in the movie, including a flashback of the security agency and there is a message of friendship as well. The film also offers lavish sets and an army of corporate-style dressed villains. Puneeth Rajkumar has appeared in two different shades in the movie. On one side, he is seen laughing and dancing and on another side, his action scenes leave a lasting mark.

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The first half is filled with high-octane action sequences. When the flashback opens in the second half, the story goes awry. This second half segment is presented to answer the twist that comes in at the interval. It is only after the interval that the real message of the story is portrayed. There is a love angle in James , but it is not given much attention by the makers. As a result, lead actress Priya Anand doesn’t have much to offer to the narrative of the film.

There is also Sadhu Kokila in a comedy role along with Chinnanna, Shine Shetty and Tilak playing Puneeth's friends. The film has Rangayana Raghu, Suchindra Prasad and Anu Prabhakar in key supporting roles. Srikanth, Sharath Kumar, Aditya Menon and others play the villains and their huge number also gets confusing. Meanwhile, Shivaraj Kumar and Raghavendra Rajkumar make a special appearance in James .

The film’s music has been scored by Charan Raj and it is great. The camera work is also amazing. The profundity of the film is a sight to behold. Overall, James is a movie that will not disappoint fans of Appu.

777 Charlie - Kantara: How 2022 Proved To Be A Gamechanger For Kannada Movies

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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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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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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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Upadhyaksha Movie Review: A Heartwarming Tale of Humor and Affection

Updated Jan 26, 2024, 00:30 IST

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‘Chilli Chicken’ movie review: A compassionate take on the migrant life in Bengaluru

Directed by prateek prajosh, ‘chilli chicken’, starring shrunga bv in the lead, calls for harmonious co-existence between the locals and the migrant workers.

Updated - June 23, 2024 05:52 pm IST

Published - June 21, 2024 06:13 pm IST

A still from ‘Chilli Chicken’ | Photo Credit: Anand Audio/YouTube

In the last few years in Karnataka, locals have been vociferously fighting for the revival of Kannada pride and culture. Chilli Chicken, which revolves around migrants working in a hotel, is an important film, considering the current atmosphere in the state.

Be it at a restaurant or a salon, it’s common to find workers from the North East Region. Our interaction with them is minimal, and we never pause to think about how they go about their daily lives. Director Prateek Prajosh’s film offers a peek into the world of these migrants and the movie begins with the statistics of how Bengaluru has the second-highest number of migrants in the country.

Chilli Chicken (Kannada)

Khaba (Bijou Thaaangjam), Jimpa (Jimpa Sangpo Bhutia), Ajoy (Victor Thoudam), and Jason (Tomthin Thockchom) work for a hotel called Noodle Home, owned by Adarsh (Shrunga BV). They live in a tiny room, yet it’s a luxury, according to Adarsh, who says it’s almost a norm everywhere in the city to pack around 10 migrant workers in one room.

It’s natural for these workers to feel alienated in a big city, but the film shows how a lot can change if they try to be one among the local people. The first step is to speak the state’s language.

Chilli Chicken is an important film for workers who leave their homes to find a living in cosmopolitan places. The casual manner in which the four employees speak Kannada in the film was refreshing. The film does not portray them as entirely misunderstood people. They choose the wrong path to make quick bucks (even if it’s a desperate attempt to make ends meet), and when we hear stories of migrants nabbed for illegal activities, we know they have paid the price.

The movie, co-written by Prateek and KAS, is a quest for identity. Adarsh, played brilliantly by Shrunga, is a middle-class man with big dreams. He feels inferior around his girlfriend’s father, who is a wealthy man. His self-esteem takes control whenever his girlfriend or her father tries to measure his success with money. Left alone in his pursuit, Adarsh calls Bengaluru his home and tells his employers they belong in the city. It’s a poignant scene that best describes the film’s core intention.

Harini Sundarajan (in a wonderfully-measured performance) plays a youngster who makes Instagram reels with progressive thoughts apart from balancing her different part-time jobs. Her character holds a mirror to those who stand up against people who get stuck in a time warp. Her quarrels with narrow-minded people are an attempt to fight discrimination even as the four migrants seek more respect from their employers and society in general.

After a solid twist in the plot, the film’s screenplay turns wobbly. You also feel a sudden lack of focus from the filmmaker as the film’s smooth pace takes a beating. Chilli Chicken doesn’t take sides (Adarsh isn’t perfect while his rich girlfriend isn’t heartless either), making it difficult for the director to balance multiple narratives. The lives of the migrants and the struggles of Adarsh keep intercutting with each other, and it isn’t a smooth ride for the viewers, who keep wondering if they will end up meeting at a common point.

ALSO READ: Dhananjaya to play Kempegowda in biopic

Still, it’s impressive of the director to treat a heavy topic in a deft, palpable manner. The film is helped by its humour quotient, and Siddhanth Sundar’s beautiful songs propel the engagement factor.

The film’s conclusion is quite convenient, yet Chilli Chicken has its heart in the right place. Harmonious co-existence is the only way forward for all of us to thrive and Chilli Chicken leaves us hoping for it.

Chilli Chicken is currently running in theatres

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Kinds of Kindness

A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual pro... Read all A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual prophesied to become a renowned spiritual guide. A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual prophesied to become a renowned spiritual guide.

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Trivia According to Hong Chau , 'Kinds of Kindness' tells three separate stories with the cast playing different characters in each.

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lorenzodepuygiuc
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When was Kinds of Kindness released? Powered by Alexa
June 28, 2024 (United States)
United States
United Kingdom
Merhamet Hikayeleri
New Orleans, Louisiana, USA
Element Pictures
Searchlight Pictures
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Jun 23, 2024

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Runtime 2 hours 44 minutes
Black and White
Dolby Digital

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'Land of Women' Review: Eva Longoria Leads Apple TV+'s Feel-Good, Low-Stakes Drama

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The Big Picture

Apple TV+'s enjoyable dramedy Land of Women follows New York socialite Gala on a life-changing trip to a Spanish wine town with her family.
The show features strong performances, particularly from Carmen Maura, highlighting the bond between three generations of women.
Despite a weak crime subplot, Land of Women offers breezy, feel-good escapism, with a well-developed dynamic between its leading trio.

With the beginning of summer comes a strong desire to go on vacation overseas and escape from the hardships of everyday life. When traveling isn't an option, a series like Apple TV+'s Land of Women does the trick, since it is centered on a "girls trip" to a picturesque small town in northern Spain, where miles of vineyards occupy both sides of the road. Although the reasoning behind the getaway is far from a simple wish to live an adventure in an unknown place, Gala's ( Eva Longoria ) last-minute plan to board a plane with her elderly mother Julia ( Carmen Maura ) and her teen daughter Kate ( Victoria Bazua ) makes for an unexpectedly life-changing ride. Although Apple TV+'s multicultural production, with cast and crew from both Spain and the US, has its faults, Land of Women is a breezy, feel-good show that viewers can resort to when traveling to Europe isn't feasible.

Land of Women

A New York socialite is forced to flee to a charming Spanish wine town with her mother and daughter. She finds herself navigating small-town quirks while also confronting her deepest family secrets—and a pair of bumbling hit men.

What Is 'Land of Women' About?

Based on a novel by Sandra Barned , the series starts with Gala, a New York socialite who is ecstatic about her bottle shop opening. In high spirits over finally getting to focus on something of her own, the protagonist feels her world turned upside down when two hit men appear at the inaugural event to warn her about her husband's billion-dollar debt. With her partner nowhere to be found and criminals threatening her and her family, Gala is forced to come up with a plan to flee the country with her loved ones overnight. The first destination that pops into her mind is La Muga, a small town in Catalonia, Spain, where Julia and her sister lived in their youth. Yet, when the three women arrive in the village, it becomes clear that their presence is unwelcome , given the bad reputation that Gala's mother had when she lived there and the fact that she hadn't kept in touch with her sibling for over 40 years.

'Land of Women' Might Be Eva Longoria's TV Comeback, but Carmen Maura Steals the Show

Carmen Maura with one hand on a cart filled with grapes, standing in the middle of a vineyard in 'Land of Women'.

After spending nearly a decade behind the camera as a producer and director, the Desperate Housewives alum once again embraces the role of a fashionista, who slowly learns that she doesn't need expensive clothing items at her grasp to be happy. Longoria's charming onscreen presence and her feisty Latina nature are on full display through her latest character, who was born in America but lived a long time in Mexico. Her fluency in Spanish allows her to alternate between languages and communicate with La Muga's locals, but it doesn't prevent her from being misjudged by the community of primarily women. After all, in their minds, she is the spitting image of Julia, who they regard as a rebel without a cause and who also had flings with most of the men in the village when she resided there. Her departure from the town was more of a blessing than a curse, so Gala being related to her prevents the protagonist from making meaningful connections right away. She must instead conquer the women's trust, as well as the affection of Amat ( Santiago Cabrera ), the current owner of Julia's childhood home.

Although Longoria plays the main character, the consecrated Carmen Maura who draws the viewer into the plot. Pedro Almodóvar 's frequent collaborator brings nuance to Julia, who is now no longer the problematic teen who used to go skinny-dipping in the lake and would constantly get into fights with her neighbors. She is now plagued by memory lapses, so much so that she doesn't even know which of the men in her past is Gala's biological father. Catapulted back to the place where she was raised, Julia must make amends and find the answers she seeks before she is no longer able to remember who she is. Maura shines as Julia, embracing her sense of humor and flirty personality despite her mental state.

Moreover, Land of Women might be a crime drama, but the show's highlight is the dynamic between generations . As a grandmother, a mother, and a daughter are forced to leave their comfort zones and reconnect through an unfortunate turn of events, they finally get the chance to bond like never before. Kate, who is transgender, has had a hard time maintaining a close relationship with her mother since her transition, and Julia was living in a retirement home before her daughter whisked her away on this getaway trip. Sleeping in a cramped guest room and working in the fields producing wine becomes an opportunity for healing. When Longoria, Maura, and Bazua share the screen, you can't help but feel drawn to their evolving bond.

'Land of Women's Crime Subplot Is Neither Thrilling nor Melodramatic Enough

Eva Longoria standing in the middle of vineyard with an annoyed expression in 'Land of Women'.

With this leading trio making amends in the wine country, it is easy to forget that the show began with criminals knocking on Gala's door. When the hit men go after these three women, their presence in the Apple TV+ original becomes more annoying than thrilling . After all, the characters tracking them down are purely one-dimensional, and their posture is neither scary enough to make them threatening nor is it goofy enough to make them a perfect fit for telenovelas like La Reina Del Sur or Jane the Virgin .

Interestingly, the crime aspect of the series is its least compelling feature, given that the show's creators have crafted several women-led dramas with a dangerous twist. Showrunners Ramón Campos , Paula Fernandez , and Teresa Fernández-Valdés have lent backing to productions like High Seas and Cable Girls , which are great examples of projects that effectively blend female friendships and outlaw chases.

Despite this, the show's magnetic performances (especially Maura's) and its gorgeous backdrop are enjoyable enough to offer viewers a welcoming sense of escapism . Although Land of Women would've been better off if it were more high stakes, particularly when it comes to Gala's constant fear of having her hiding spot uncovered, it does score points for its well-developed dynamic between the series' leading trio.

Land of Women TV Show Featuring Eva Longoria, Carmen Maura, and Victoria Bazúa walking down a street with baggage

Land of Women is an enjoyable, female-led dramedy with a weak crime link.

Carmen Maura's performance is multi-faceted and compelling.
The leading trio's rekindling is one of the series' greatest assets.
The wine country setting provides a comforting sense of escapism.
The crime elements fall flat, despite the series being a crime drama.
The show's villains are one-dimensional, and their presence is more boring than thrilling.

The first two episodes of Land of Women will premiere on Apple TV+ on June 26.

Watch on Apple TV +

Eva Longoria

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