How Stories Rooted In India Are Turning Box Office Blockbusters Down South

Kantara Chapter 1, which released on October 2, has hit a worldwide box office collection of a whopping Rs 725 crore, with its Karnataka release alone garnering more than Rs 185 crore in just two weeks.

This pan-Indian film, deeply rooted in Karnataka folklore and culture, crafted for audiences across India, had such universal appeal that it resonated with everyone irrespective of age or language. What makes the success of this Kannada film and Kantara (2022) more interesting is the successful blending of myth, spirituality, action, and moral dilemmas to create a genre-bending cinematic experience.

Director and actor Rishab Shetty, who wrote, directed and acted in both films, has shown the world the power of rooted filmmaking and how regional cinema, that focuses on cultural specificity and originality, can strike both box office gold and audience appreciation.

However, Kantara and Kantara: Chapter 1 are not the only South Indian films that revolve around folklore and mythology which have turned blockbusters. We have also seen this theme in SS Rajamouli's Baahubali series (Telugu), Prasanth Varma's Hanu-Man (Telugu), Ashwin Kumar's Mahavatar Narsimha (Kannada, animated), Dominic Arun's Lokah Chapter 1: Chandra (Malayalam) and Vishnu Manchu's Kannappa (Telugu).

The success of nearly all these films tells us how stories rooted in folklore and mythology continue to drive south cinema and how more south Indian filmmakers want to bring alive these tales on a larger canvas with extraordinary visuals and compelling narratives.

Striking Gold At The Box Office

Here are the lifetime worldwide box office figures (Source: Sacnilk) of these south films that revolve around mythology: Baahubali: The Beginning - Rs 650 crore (approx.); Baahubali 2: The Conclusion - Rs 1788.06 (approx.); Hanu-Man - Rs 295 crore (approx.); Mahavatar Narsimha - Rs 326 crore (approx.); Lokah Chapter 1: Chandra: Rs 302.5 crore (approx. as on date Oct. 18); Kannappa - Rs 43.95 crore (approx.).

Their lifetime net India collections (Source: Sacnilk) too have been a huge impetus for south filmmakers to weave stories around this theme. While Baahubali: The Beginning made Rs 420 crore (approx.), Baahubali 2: The Conclusion made Rs 1030.42 crore (approx.), Hanu-Man around Rs 200.30 crore, Mahavatar Narsimha about Rs 250.50 crore and Lokah Chapter 1: Chandra stood at Rs 156.4 crore as on October 19. Only Kannappa didn't script a success story raking in just about Rs 32.55 crore (approx.)

Hombale Films Betting Big On Mythology

In 2025, Kannada production house Hombale Films has seen two big blockbusters with Kantara: Chapter 1 (rooted in folklore) and Mahavatar Narasimha (rooted in epic mythology).

When asked Chaluve Gowda, co-founder of Hombale Films, why such stories drive south cinema, he told NDTV, "Stories born from folklore and mythology connect directly to the soil and spirit of our people. These are not just tales - they carry emotion, faith, and cultural memory. When a story like Kantara or Mahavatar Narasimha comes from lived traditions, audiences feel an instant truth in it.

"In today's time of modern storytelling, people still crave that authenticity and divine connection - that's what gives such films their power and reach. Films like Kantara and Mahavatar Narasimha show that when we stay close to our roots, the stories become both local and universal".

Actor and producer Dulquer Salmaan too delivered a superhit this year with his Malayalam production, Lokah Chapter 1: Chandra (a mythology-inspired film), starring Kalyani Priyadrashan for which he has announced a sequel as well. Dulquer told the media that the audience today is open to watching films from different languages and fresh storytelling and this was inspiring for filmmakers and producers.

In recent years, films from south India that revolve around these themes have found pan-Indian success but similar films (eg Brahmastra: Part One - Shiva and Adipurush) made in the Hindi film industry have not always found the same reception.

Some filmmakers state this was often due to the lack of authentic storytelling and too much reliance on visuals rather than a compelling story.

Film critic Bharath agrees and adds, "South filmmakers fully commit to their vision and story; it's not about star power and spectacle alone. Hindi filmmakers sometimes add too many elements (e.g. fantasy, mythology, romance, comedy) to make a film commercial and this can backfire. Like Rajamouli stated, films based on stories driven by basic human emotions will have a wider reach.

"Emotions are key to a film's success and this has to be woven beautifully into the story which south filmmakers have been able to do. Take Kantara and Lokah for instance - both have mythology in them but their stories and treatment are completely different - one is about old work folklore and the other is a superhero flick. I think filmmakers in the south are very creative in their storytelling".

However, producer Chaluve Gowda dismisses the north versus south comparison and states, "It is not about South or Hindi, we have to make sure mythology and folklore stories are not treated as fantasy. Filmmakers should approach folklore and mythology with authenticity and reverence. The storytelling is grounded in local belief systems and lived traditions rather than relying purely on visual spectacle.

"The audiences have a strong emotional and spiritual connection with these themes, which helps such films strike a deeper chord. It's less about scale and more about sincerity in interpretation. That emotional honesty connects with the audience, and that's why these films find a deeper impact."

Numerous filmmakers in the south, from SS Rajamouli to Rishab Shetty, have spoken about their fascination with Indian mythology and folklore and how they have been inspired by the epics and local culture.

In fact, Rishab Shetty will next be seen in another mythological film - Jai Hanuman to be directed by Prasanth Varma of Hanu-Man fame. Speaking to the media about the film, the spiritually-inclined Rishab said, "This story is very close to my heart. I have great faith in the divine, and this film reflects that belief."

Prasanth Varma has always said that he's fascinated by stories from Indian mythology and culture and with Hanu-Man, he wanted to craft an indigenous, culturally rooted superhero film while emotions are at its core.

Now, this begs the question whether South Indian directors and actors are more rooted to their culture and more sensitised to audience tastes.

Producer Chaluve Gowda says, "Every region has its own cultural pulse and storytelling tradition. In the South, many filmmakers naturally draw from their surroundings and heritage, which gives their work a distinct flavour. At the same time, filmmakers across India are equally committed to understanding their audiences. It's not about being more or less rooted - it's about how sincerely each storyteller connects emotion, culture, and craft with the people they're speaking to".

With south Indian filmmakers and producers finding success with stories inspired by mythology and local culture, it looks like this is not just a theme that offers plenty of opportunities for them but also wholesome entertainment for the audience who want new content and fresh storytelling.

Also Read | Interview: Pragathi Rishab Shetty Reveals Her Family Relocated 400 Km From Bengaluru For Kantara Chapter 1

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