
Dulquer Salmaan
T. K. Mahadevan

Set in the backdrop of a film set, in the 1950’s in post colonial Madras, the film is centred around the professional rivalry between a film-maker trying to make his seminal film and the top reigning actor who the director once introduced. The rivalry spirals around the leading actress, a debutante and as the relationship between the three.
I keep thinking about the mirrors in Kaantha. Not the ones on set—though those are everywhere, too—but the ones the film holds up to itself. There’s a moment, about halfway through, where Dulquer Salmaan’s Mahadevan stands in front of a dressing-room mirror, adjusting his dhoti and staring at his own reflection.
The camera lingers just long enough for us to notice the way his fingers tremble, not from nerves, but from something closer to recognition. He’s not just looking at himself; he’s seeing the man he’s becoming, the one who will trade art for applause, and the cost of that trade. It’s a quiet scene, almost throwaway, but it’s the kind that sticks with you long after the credits roll.
Because Kaantha isn’t just a murder mystery set in a 1950s Madras film studio. It’s a film about the stories we tell ourselves—and the ones we’re willing to kill for.

Selvamani Selvaraj’s film is a love letter to cinema, but it’s the kind written in blood, not ink. The setting—a bustling studio where the film-within-the-film Shaantha is being shot—is rendered with such tactile detail that you can almost smell the celluloid and sweat. The production design by Ramalingam and the costumes by Archana Rao, Poojita Tadikonda, and Harmann Kaur are so immersive that the past doesn’t just feel alive; it feels present.
The black-and-white sequences, shot in a different aspect ratio to distinguish the film-within-the-film, are particularly striking. They don’t just evoke the era; they become it, as if the camera has slipped through a tear in time. And yet, for all its period trappings, Kaantha is less interested in nostalgia than in the mechanics of mythmaking.
How do we turn people into legends? And what happens when those legends start to believe their own press?
The film’s central conflict is between two men: Samuthirakani’s Ayya, the veteran director clinging to his artistic vision, and Mahadevan, the star he once mentored, who now sees the film as a vehicle for his own stardom. Their battle isn’t just professional; it’s existential. Ayya wants to make Shaantha, a story about sacrifice and redemption.
Mahadevan, ever the showman, rebrands it as Kaantha—a title that flatters his own persona—and reshapes the narrative to center himself. The irony, of course, is that Kaantha the film is doing the same thing to its own source material. The makers insist it’s not a biopic of M.K.
Thyagaraja Bhagavathar, the legendary Tamil star and singer, but the promotional material, the court case, and even the film’s DNA all scream otherwise. It’s as if Selvaraj is winking at us: See how easy it is to blur the line between truth and fiction?
"A gripping period crime thriller with strong performances but uneven pacing and a familiar plot structure."
Viewers appreciate the atmospheric setting of 1950s Madras and the intense performances, particularly from Dulquer Salmaan and Rana Daggubati, which add depth to the murder mystery. latestnetflix.com's read is that however, some find the story predictable and the pacing inconsistent, with underdeveloped side characters failing to match the leads' energy.
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Who knew a 1950s studio-set murder mystery could cause this much real‑world chaos? latestnetflix.com's view is that Dulquer Salmaan’s Kaantha may look like an ode to golden-age cinema, but behind the art deco sets and dramatic lighting was a storm of lawsuits, near-friendship breakups, creative clashes, and a murder case from the 1940s haunting the whole production.Buckle up.
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In true meta fashion, Kaantha turned out to be a movie about a chaotic film set… born from a chaotic real-life production, haunted by a decades-old murder, and nearly sabotaged by its own legal and PR storms. For a period drama, it brought an extremely modern level of mess.
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