Kaantha (2025) Movie ft. Bhagyashri, Dulquer, and Samuthirakani

Dulquer Salmaan’s Kaantha takes us back to 1950s Madras, when studio culture ruled Tamil cinema. Director Selvamani Selvaraj brings us a story about ego, art, and what happens when these two collide. Alongside Dulquer, we have Samuthirakani, Bhagyashri Borse, and Rana Daggubati in this period thriller that hit screens on November 14, 2025.

This Wayfarer Films and Spirit Media production runs close to three hours and marks Borse’s entry into Tamil films. Dani Sanchez-Lopez handles the camera, Jhanu Chanthar composes the music, and the film comes with a U/A certificate. You can watch it in Tamil, Telugu, Kannada, Malayalam, and Hindi across theaters.

Two Stories Stitched Into One

TK Mahadevan owes his stardom to Ayya, the filmmaker who discovered him. Years later, they reunite for “Shaantha,” a project close to Ayya’s heart. But Mahadevan isn’t the same grateful student anymore. He wants the film renamed “Kaantha” and demands creative control, turning their collaboration into a battlefield.

The opening half watches these two men tear into each other. Their respect has turned into resentment. Raja Kumari, the film’s lead actress, finds herself stuck between them. Just when you think you know where this is headed, someone gets shot during filming. The second half switches gears completely. Rana’s investigator arrives to unravel who fired that gun and why.

Dulquer Owns Every Frame He’s In

I have to say, Dulquer hits different in this role. Playing TK Mahadevan, he shows us both the charismatic star and the troubled man behind the fame. There’s this mirror scene where he completely breaks down—no theatrics, just raw emotion. People are already talking about award possibilities, and honestly, I get it.

Samuthirakani brings real weight to Ayya’s character. You can see the pain of an artist watching his creation overshadow him. When these two clash on screen, you feel the tension. Samuthirakani doesn’t play a villain; he plays a man whose pride got the better of him.

Bhagyashri Borse handles her role beautifully. As Raja Kumari, she brings softness to a story full of sharp edges. Her expressions do the talking. I wasn’t familiar with her work before, but this performance should open doors for her in Tamil cinema.

Rana Daggubati shows up later as the investigating officer. He adds some lighter moments to an otherwise heavy film. His character feels a bit theatrical at times, but it doesn’t hurt the overall experience much.

The Visual Craft Stands Out

Dani Sanchez-Lopez’s camera work deserves applause. The black-and-white scenes transport you straight to the 1950s. Everything from the sets to the costumes feels authentic. You can tell the team researched this era thoroughly.

Jakes Bejoy’s background music fits perfectly without overwhelming the drama. The songs work as period pieces. “Panimalare” and “Kanmani Nee” have this old-world charm. The technical side of filmmaking shines throughout.

Dulquer’s transformation into a 1950s cinema icon feels complete. The first half builds tension effectively. Those ego-driven arguments between Ayya and Mahadevan kept me engaged, wondering when things would explode.

But The Film Loses Its Way

Here’s where I struggled—the film drags badly. Nearly three hours is too long for this story. The second half especially tests your patience. The shift from character drama to murder mystery doesn’t land smoothly.

Scenes start repeating themselves. How many times can we watch the same argument? The freshness from the first half vanishes. I found myself checking the time during the investigation portions, which moved at a crawl.

The mystery becomes predictable halfway through. You can guess what’s coming. The Telugu dubbing could’ve been better. Several talented actors get barely any screen time, which feels like a waste.

The songs, though nice, interrupt the flow. Some dubbing issues are visible in certain scenes. The love track between Mahadevan and Kumari needed more development to make us care deeply.

What Others Are Saying

Critics have split opinions. India Today gave it 2.5 stars, acknowledging strong performances but pointing out execution problems. 123Telugu rated it 2.75 stars, praising the acting while criticizing the stretched narration.

The Week called out Dulquer’s performance as his strongest yet. Onmanorama appreciated the film’s tribute to classic cinema. Great Andhra went with 2 stars, liking the fresh concept but not the slow investigation.

Social media reactions lean positive. Many fans are calling it one of the year’s best. Several posts declare Dulquer worthy of national recognition. People who enjoy arthouse cinema loved it. Those wanting mainstream entertainment found it boring.

My Bottom Line

Kaantha tries something brave by mixing period drama with thriller elements. Dulquer’s performance alone makes it worth watching. The visual presentation takes you back to Tamil cinema’s golden period.

But it trips over its own ambition. The slow pace and repetitive middle section drain the energy. The investigation feels longer than needed. This film asks for patience—a lot of it.

I’d say watch it if you appreciate character-focused storytelling and don’t mind slow burns. The cinematography and Dulquer’s work deserve your attention. But skip it if you prefer brisk, commercial entertainment. This one demands you meet it on its own terms.

The film succeeds as an acting showcase and a visual tribute to old Tamil cinema. Despite its problems, I respect the attempt to do something different. We need more films willing to take risks, even if they don’t always stick the landing.

Rating: 3 out of 5 stars