The teaser of Rishab Shetty’s Kantara: Chapter 1 released yesterday creating a buzz around the much anticipated prequel.
The tale takes us to the time of the Kadamba Dynasty, an old and noble family in Karnataka. In the video, we see a person with a strong and muscular body, covered in blood, wearing rudraksha beads, and having long, curly hair and a beard. With a trident in hand, the man looks up, revealing his face and intense, fiery eyes.
In Kannada, “Kantara” means “mystical forest.” The movie’s subtitle is “A Legend.” This fun movie delves into the traditional customs of a local group of indigenous people in Tulu Nadu and parts of Malenadu in Karnataka, one of the states in India. It explores the bhoota kola tradition (or Daiva Kola), which is a stylized dance ritual honoring local deities. The film also delves into the complexities of forest politics.
Significance of representation of indigenous culture in Kantara
Films like Kantara that depict the culture of indigenous communities are never depicted in mainstream cinema. The need for films to have entertainment value that appeases the masses prevents the production of cinema rooted in anything beyond topics that serve the commercial purpose. It has been assumed so far that it is impossible to merge entertainment with aspects pertaining to the indigenous culture until the breakthrough with Shetty’s Kantara.
Indigenous cultures often face the risk of erosion due to globalization, modernization, and cultural assimilation. By representing these cultures in film, there is an opportunity to document and preserve aspects of their heritage for future generations.
Film is a powerful tool for promoting cultural diversity. By showcasing indigenous cultures, filmmakers contribute to a more inclusive representation of humanity in the global cultural landscape, moving away from stereotypes and one-dimensional portrayals.
To analyze Kantara properly, it’s important to remember the core indigenous values, lives, and authenticity it represents. It stays true to depicting tribal/indigenous life, offering a somewhat borrowed reflection of an unknown patriarchal community. Unlike many Indian films that portray indigenous traditions in a specific way, Kantara manages to find a balance between being popular and falling into the niche of parallel cinema.
Indigenous cultures have often been subject to stereotypes and misrepresentations. Film has the power to challenge these stereotypes and offer more nuanced, accurate portrayals that contribute to breaking down cultural prejudices.
It opens the door for a national and global audience to understand the creatively adapted aspects of these indigenous cultures. Rather than assimilating them into dominant narratives, the film creates a space where these cultures can exist independently. In the global context, Kantara not only preserves indigenous elements but also leaves a lasting impact on public awareness through its storytelling, visuals, and powerful sounds.
Films about indigenous cultures can serve as a platform for raising awareness about social, environmental, and political issues affecting these communities. This can lead to advocacy for their rights, protection of their lands, and improved living conditions.
Several celebrities like Sunil Shetty, Shilpa Shetty and Kamal Haasan all heaped praise for the film. Sunil Shetty, especially mentioned how he grew up being exposed to the bhoota kola tradition and was moved with pride to see a part of his culture depicted on screen.
At a press conference held on Tuesday at the 54th International Film Festival of India (IFFI), Rishab mentioned that OTT platforms ‘aren’t welcoming to the Kannada film industry.’ Shetty expressed concern, stating that OTT platforms are not receptive to the Kannada film industry, which he deemed a negative indication.
According to him, these platforms claim a lack of subscribers in the region and are currently investigating the matter. Rishab highlighted the active efforts of two production houses, Paramvah Studios led by Rakshit Shetty and his own Rishab Shetty Films, during the pandemic. He also mentioned that other production houses were making films, and despite their active participation in film festivals, OTT platforms were not showing interest in acquiring their films.
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