Director Selvamani Selvaraj’s new Tamil film, Kaantha, gives us a vintage noir-style thriller about a deadly ego clash between an arrogant superstar and an auteur director, with a debutant starlet caught in the middle. While the story might be set in the past, the film represents a fresh new step for South Indian cinema.

Dulquer Salmaan stars as actor T. K. Mahadevan, who has climbed up from nothing to become a legendary cinema superstar in 1950s Madras. He’s treated like a god, introduced in silhouette and flanked by an entourage.

On the set of his new film, he constantly clashes with director, Ayya (Samuthirakani), who was previously his mentor. This film is Ayya’s baby, a deeply personal story, and he will not allow Mahadevan to take control of the project.

The initial conflict arises because Mahadevan is all about pleasing the audience, while Ayya is all about the art, but as secrets are revealed and we learn more about their backstories, we see that the animosity between the two men goes much deeper than creative conflict. 

Their only common ground seems to be beautiful debutant actress Kumari, played by the spectacularly gorgeous Bhagyaahri Borse. Both men use their relationships with Kumari to exert power over each other, pulling her in different directions and raising questions about her loyalty.

Throughout the course of the film, relationships get tangled, tensions escalate, secrets are revealed, and eventually, we have a murder on our hands. 

Enter Rana Daggubati as Phoenix, the investigator tasked with cracking the case and identifying the perpetrator. Daggubati avoids the hardboiled detective cliche, changing the tone and aiming for a wilder characterization more along the lines of Benoit Blanc in the Knives Out films.

The performances are all strong in Kaantha, with Salmaan tackling the challenge of channeling the vintage style of 1950s acting while also giving us the subtleties favored by audiences today. He’s effective when he goes big, but little things like a look in his eye or a small shift in expression show just how incredible he can be with the nuance needed for the character. It’s a truly remarkable performance, one that would likely land him on the shortlist for an Oscar if this were a Hollywood film.

Our supporting cast is also firing on all cylinders here. Samuthirakani, whom I’m more used to seeing in a villain role, is quiet and contained, but always striving for control in a way that creates great tension. 

Borse is finally given a chance to shine after starring in commercial films that prioritize her beauty over her acting chops. I was thrilled to see her flex her skills here, giving us innocence and intrigue at the same time, and I love that Kumari is such a crucial character.

Kaantha is one of the most visually marvelous films of the year, thanks to stellar cinematography from Dani Sanchez-Lopez. The use of light to obscure or reveal characters, the classic noir-style shadows, the way shots play with reflections and mirrors, and even the overall color palette make each frame feel rich and delicious.

Every aspect of Kaantha feels like a departure from traditional South Indian cinema. The complex characterizations and even the pacing are a bold step in a new creative direction. For that reason, this film will probably be rather divisive for audiences. If it works for you, it will really work for you, and that was my experience. I felt so grateful for Salmaan and Daggubati, who co-produced the film, for taking this big swing.