In Agnyathavasi, director Janardhan Chikkanna uses the setting as a powerful narrative tool. He turns to cinematographer Advaitha Gurumurthy and music composer Charan Raj to create an immersive experience for the viewers. The film, backed by Hemanth M Rao, boasts technical solidity, even as it tries hard to cope with the limitations of its small idea.
The death of an influential person (an ever-dependable Sharath Lohitashwa) wakes a sleepy town in the Malenadu region in Karnataka. For the locals leading a quiet and peaceful life, a murder in their town is an improbable occurrence. What’s worse—and a tad funny—is how inconsequential the police station is in the village. When there is no room for crime, the police are used as bride matchers, as depicted in the film.
Yet, a senior cop (Rangayana Raghu), much to the shock of the locals, declares the death as a murder. Janardhan incorporates an additional layer to the story by connecting the murder with the lives of two youngsters, performed earnestly by Siddu Moolimani and Paavana Gowda.
Agnyathavasi (Kannada)
Director: Janardhan Chikkanna
Cast: Rangayana Raghu, Siddu Moolimani, Sharath Lohitashwa, Paavana Gowda
Runtime: 122 minutes
Storyline: A police officer begins to investigate a crime in a sleepy town and that takes him to a path that opens up a Pandora’s box of secrets buried in the town.
Agnyathavasi isn’t your traditional whodunit. The film’s trailer makes it clear that the director isn’t on the killer; he is more keen on understanding what forces someone to commit a murder. Till he arrives at that answer, Janardhan indulges in extensive world-building, turning Agnyathavasi intoanatmospheric thriller.
Set in 1997, the film highlights the phenomenon of youngsters migrating to the US for jobs and education, fuelled by the IT boom. It was a time when the computer was seen with excitement and caution in small towns.
Siddu Moolimani adds the right amount of energy to his character Rohit, who is curious and shy, making him a relatable 90s youngster. Rohit’s room is decorated with pictures of Tendulkar and Ali. Advaitha Gurumurthy adds a soft and misty effect to his frames to establish a sense of a bygone era. Charan Raj’s music beautifully complements the idea of nostalgia and the tension around a murder.
The film’s writing leaves you with a lot of questions. The concept of letters exchanged through e-mail was a great idea, perhaps even highly relatable for the viewers. However, the communication between two lovers torn apart by circumstances isn’t interesting. Humour at unexpected places dilutes the intensity of the story. The film’s high moments come in between some notable flat scenes. The narrative technique of showing the same incidents again and again isn’t entirely effective as there are hardly any new viewpoints from the characters involved each time we see them.
The underwhelming final act offers a tame end to the film. Even as the director delves into the aftermath of a murder, the reason for the crime isn’t chilling enough. After revealing it too late, the director finds it difficult to make the incidents emotionally resonating in the final few minutes.
Rangayana Raghu ensures our curiosity is intact. The role in Agnyathavasi is another departure from his comedic and exaggerated characters after Shakhahaari (2024). The actor, who was terrific in Moorane Krishnappa (2024), is revelling in his 2.0 version.
Watching Agnyathavasi is akin to reading a novel that describes its people, place, and culture in detail. There is a touch of mystery involved as well. The conclusion will appeal to those who are more interested in the psyche of a criminal than the shock associated with the act of crime.
Agnyathavasi is currently running in theatres
Published – April 11, 2025 07:14 pm IST