Rarely a film leaves you speechless. Sometimes, the effect is astonishing and the words fail you. Sometimes, you are so impressed that you cannot stop talking about it. Sometimes, it kills you so hard that you just reveal it in its magic. But when a film manages to do all this at once, it is not just a excellent work – it is a cultural event. This is the one who does Rishha Shetty’s ‘Kantara: Chapter 1’ to you.

The film opens with the endless discovery of the Kadamba dynasty and its tyrannical ruler, which is for every piece of land and water. Man, woman, or child – it doesn’t matter to him. He kills everyone and wins. During such a victory, he spots a mysterious old man fishing near the sea. He orders his men to catch him, and when they pull him to kill him, the precious material falls from his bag. The ruler examines these and climbs a mission to find his source. This chase leads her to Kantara, where the tribes live in harmony with nature. The ambition of the Kadamba ruler meets his match, when he sets his eyes on Ashwara Pandhotam, a mysterious field protected by divine power in Kantara.

Decades later, we are introduced to Vijayendra (Jairam), who is the king of Bhangra. After ruling for years, his son Kulasekhar (Gulshan Devai) is crowned the king, while his daughter Kanakavati (Rukmini Vasant) takes charge of the treasury. Meanwhile, Burme (Rasha Shetty), as the leader of Kantara, tries to develop his village and improve the lives of the villagers. When Kantara people reach Bhangra, the situation is a snowball in a complete struggle that is the owner of the land, which protects it, and who threatens to destroy it.

If the 2022 film ‘Kantara’ stole your breath, its prequel takes everything from the origin and increases it ten times. As soon as the film begins with a voiceover about Kadamba and Bhangra dynasties and tribes, you immediately join its world. Each view is prepared with careful expansion. From harassment to equality, the film addresses everything deeply. For example, chariot and horse view, where the Kanta tribes – untouchables are considered – they ride, breaking social obstacles. It is so systematically woven into the script that you can hardly get your attention.

The first half of ‘Kanta: Chapter 1’ is the power-pack to say at least. Whether it is a chariot and horse chasing sequence or a spectacular battle scene inside a forest before the gap, the film is in its best form. It is impossible to not blow up hard work, strong belief and sheer perfection, with which Rishab Shetty has brought this vision to life.

When the film shift focuses on the kingdom of Bhanghara and drunkard Kulskhara, the story intensifies by opening the doors for another tribe inside the village. The film is not only about rich vs. poor, it is also about the inner strength struggles and the fight between good and bad that emerge through different clans between the tribes.

Chilling Guliga scream which made the roar of ‘Kantara’ feels just a glimpse that we are witnesses in the prequel. Rishab Shetty’s Baram showed the changes of the screams that express various feelings. Gozbump-comprehension moments are tireless and keep coming.

If Rasha Shetty is the column of ‘Kanta: Chapter 1’, then he is supported by Kanakavati of Rukmini Vasant. She receives one of the most meat roles in the film and holds her ground with a powerful performance. Jairam proves what an experienced actor can bring to the table. Gulshan Devaiya, as an incompetent king, fit the role so originally that you tease with his mere appearance on the screen – which is actually the point.

‘Kanta: Chapter 1 is’ layered and metaphor, and it is its largest property. This makes you feel, and when a film successfully does, it has done its primary work to confuse the audience.

Beyond the story and performance, ‘Kanta: Chapter 1’ excellence in technical departments. Arvind S Kashyap’s exemplary cinematography, Ajnesh Lokeath’s soul-groomed music, and impressive visual effects are at the point.

Compared to ‘Kantara’, prequel is higher at cinematic height, but they do not overwhelm the story. On the second half, some graphics lacks cleverness, although it is an otherwise a minor curvature in stunning production.

The climax and guliga sequences of the prequel are special mentioned and many rivets. Rishha Shetty as an artist, is actually a force of nature in these moments. Visuals with this arrest and a story, this is a story, no one can help, but Rishab falls in love with Shetty’s ‘Kantara’ world.

For him, and for the visual feast that ‘Kanta: Chapter 1’, it is likely to be counted among the best films of the year.