Everyone has heard of Kantara and KGF — unless they’ve been living under a rock, or on a different planet. But Kannada cinema is much more than those two blockbuster properties. Of course, it may seem like there’s not much happening there compared to other industries, and understandably so, but there are more incredibly gifted talents in the industry, from whom we wish to see more work. We pick ten Kannada films that managed to stand out from the rest.
Aachar & Co
Directed by Sindhu Sreenivasa Murthy, the film, set in 1960s Bengaluru, is replete with humour and heartwarming moments. A bunch of genuine characters (with their perfections and imperfections) and heartfelt moments populate the film that doesn't rely on heavy, over-the-top theatrics. An overall warm, inviting experience that tells a quietly inspiring tale of a group of women who endeavour to start a small pickle business at home. It possesses a unique, distinctive charm that's rarely seen in South Indian cinema these days.
Kavaludaari
Director Hemanth Rao's investigative thriller bridges past and present events in an intriguing and, to an extent, moving mix of mystery and nail-biting suspense. The film revolves around a traffic policeman (Rishi) who becomes drawn to a case that goes back decades. The layered screenplay and restrained pacing are complemented by strong performances from a host of gifted actors in Kannada cinema who would later go on to appear in tentpole films of far bigger scale.
Nathicharami
The film bravely takes on a sensitive subject with admirable grace and restraint. How does a woman (played by Sruthi Hariharan) deal with her physical needs after the demise of her husband, whom she deeply loved? A subject that, in the hands of a lesser filmmaker, would’ve easily been treated with an exploitative approach, but director Mansore’s serious and thought-provoking approach works well without sounding pretentious. Balaji Manohar’s subtle and restrained portrayal of her psychiatrist is delightfully refreshing — a far cry from the stereotypical portrayal of the profession we often see in Indian cinema.
Hostel Hudugaru Bekagiddare
It doesn’t matter if your hostel life was incredibly boring. If you stayed in a college hostel and encountered some wild characters and situations, that alone should be enough to dig into this madcap, chaotic (in a good way) rollercoaster ride that is Hostel Hudugaru Bekagiddare. Directed by Nithin Krishnamurthy, there is nothing quite like this comic caper in Indian cinema today. It is, for me, the baap of all hostel comedy entertainers. It’s yet another great example of a story where one small incident snowballs into full-blown insanity, with several memorable characters — and some lovely cameos (Rishab Shetty is one). A film that doesn’t care how eccentric or weird it looks. It unashamedly embraces this quality while also delivering the necessary cinematic highs.
Garuda Gamana Vrishabha Vahana
Garuda Gamana Vrishabha Vahana took me back to the days when I discovered the gritty gangster films of Ram Gopal Varma (“Sathya”, “Company”) for the first time. Though not an easy watch, this Raj B. Shetty directorial does full justice to the genre and story, immersing you fully into its dark, violent world inhabited by two buddies, Hari and Shiva, whose bond slowly begins to erode once power and ambition become inevitable variables. Set in the underbelly of coastal Karnataka, the film, told in a non-linear fashion, embodies a notable vintage flavour. It explores masculinity, loyalty, ego, and the ramifications of unchecked rage. Raj B. Shetty and Rishab Shetty depict the evolution of their characters with the right measure of raw energy and flair.
Ondu Motteya Kathe
Raj B Shetty plays a middle-aged man struggling with insecurity stemming from baldness in a society that values appearances and aims for unrealistic beauty standards. A warm, funny film that comes with a few surprises, the film never ridicules its main character; instead, it presents his vulnerability with the right degree of empathy and humour. As the protagonist Jandardhan, Raj B. Shetty delivers a naturally relatable performance, with several situations that blend awkward and sincere moments. It’s another small, simple film that feels genuine and comforting, telling you to prioritise kindness and self-acceptance above looks.
Bell Bottom
For those seeking a laid-back detective film that evokes 1980s mainstream cinema, look no further than this Rishab Shetty-starrer helmed by Jayatheertha. A fun, nostalgic throwback to simpler times. Rishab plays a quirky detective nursing dreams of a crime novelist, dressed in bell-bottom pants and armed with old-school gadgets. The film adopts the tone of a breezy, lighthearted mystery instead of going for a darker, gore-filled approach. Rishab Shetty brings a lot of energy and humour to his likeable protagonist, Divakar. After Aachar & Co, this one also works best as a comfort watch — stylish, playful, and rooted in a love for old-school detective stories.
Avane Sriman Narayana
The high-concept epic is headlined by Rakshit Shetty and directed by Sachin B. Ravi, the editor of the actor’s much-celebrated hits like Kirik Party and Ulidavavaru Kandanthe (a must-see!). A stunningly made, heady cocktail of multiple genres — action, comedy, fantasy, and western — Avane Sriman Narayana is a wild, high-energy ride that fully embraces its madness. It’s not flawless, but its ambitious storytelling makes it worthy of a strong recommendation. Set in a fictional town, the film sees Rakshit in the role of Narayana, a crooked cop with a heroic streak, as he gets pulled into a chaotic hunt for a missing treasure. It’s a classic case of style largely dominating logic, but what style!
U-Turn
Shraddha Srinath leads director Pawan Kumar’s (“Lucia”) the film as Rachana, a journalist investigating a series of mysterious accidents near a busy Bengaluru flyover. A clever mix of suspense and social commentary, the film invites one to reflect on how small, careless actions can spiral into something deadly. Bolstered by steadily built tension, the film features twists which feel earned rather than forced, with Shraddha delivering a convincing turn — a believable combination of curiosity and fear. Like Kavaludaari from this list, U-Turn was remade into several languages.
Su from So
A classic example of how to reach maximum audiences with a small idea. The recipe of its success is clear as day: Simple settings, genuine characters, and a unique idea that builds something new from familiar tropes. Director JP Thuminad, who also plays the lead alongside Shaneel Gautam, imbues the film with a playful and chaotic energy. However, the film ventures into a more emotional space, revealing deeper themes of identity, grief, and empowerment. The protagonist’s involvement with a significant female character’s story adds an intense, poignant layer to the story, which focused primarily on the protagonist up to that point. The film achieves a neat balance of humour and drama, while addressing serious social issues and the strength found in unexpected alliances.