Indian cinema witnessed a significant attempt at science fiction filmmaking through Brahmāstra (2023). However, it has come up with a new attempt in 2024 with ‘Kalki 2898 AD’ – a similar theme but entirely different flavours. However, a parallel that can be noted in both sci-fi commercial films is their indulgence in religious themes and mythologies. The film ‘Kalki’ is quite different from the usual sci-fi franchise, such as the renowned Apple TV+ series ‘Foundation‘ based on Isaac Asimov’s novel, or the ‘Star Wars’. Here, the fictional setting is accompanied by a factor of ‘devotion’ of masses awaiting to be avenged by a singular hero (also called, ‘messiah’). Director Nag Ashwin’s film is entirely based on the same sentiment, poured into the vessel of a dystopian science fiction work.
Inspirations and Cues that Hint at the Intention of the Director
The film reminds you of many classic science fiction films in its stylization and set design. To name a few, the ‘Star Wars’ franchise, Denis Villeneuve’s ‘Dune’, and Ridley Scott’s ‘Alien’ in its representation of the Asura. The prime antagonist of Asura might have reminded you of many popular characters – Neo in ‘Matrix; as he ventures into the simulation world with cords attached to his head, Voldemort’s stylization, and also his haven being reminiscent of an ‘embryo’ with its spherical roof and space filled with fluids. This can also be called ‘subliminal production, or cinematography’. Each element was intentionally used in the film by the director and the team to intentionally make the audience relate to iconic characters and scenes. This enables the film to create an emotional connection with audience and also leads to the ‘easter eggs’ that we eagerly search for in a film.
A Dystopia on the Grounds of Ancient Mythology
What’s the anatomy of a cinematic dystopia? A dystopia is a deranged and fictional world, often envisioned in the future tense, where injustice has led to the deterioration of lives. In this film as well, the opening sequence starts with the later stage of Kali Yuga, the year 2898. The common masses suffer from exploitation as the elite world rejoices in luxury. Doesn’t sound too unfamiliar, does it? It’s because fiction is meant to mirror the reality or scope of reality, so somehow the film reflects mankind’s current scenario. And as the deities (ascended masters) such as Ram, Krishna, Moses, Jesus Christ, Muhammad, and Buddha became the voice of the suffering masses, the world in 2898 awaits the arrival of its sole saviour, an avatar of Hindu primordial God Vishnu, ‘Kalki’. Dystopia based on ancient mythology is not new. The film franchise ‘Percy Jackson and the Olympians’ is also based on a demi-god as the son of the Greek deity Poseidon. So, what’s unique about the 2024 film? It’s the retelling of a highly-anticipated future tale of Kalki and the correlation of Hindu epic, Mahabharata.
This is the finest point of the film – the conjunction of the living Parshuram from Dvapara Yuga and a future hero mentioned in Hindu scriptures. However, you may question, “Is the retelling accurate?” Unfortunately ‘no’, loopholes can be traced in the timelines of the characters. However, that is the not point of the film. It tries to perform ‘mythological fiction’. If you have heard of prominent Indian writer Amish Tripathi who authored ‘Sita-Warrior of Mithila’, then you must be aware of how creatives reimagine scriptures to create an inspired, fictional world. Nag Ashwin tries to conduct the same.
Marvelization of Indian Moves
If you observe the visuality of ‘Kalki 2898 AD’, and ‘Brahmastra’, you might notice a great similarity to the colour scheme of Marvel’s ‘The Avengers’ franchise. The cheeky and clean humour during grave action sequences, and warm-saturated colours with emphasis on natural surroundings – these attributes indicate the ‘Marvelization’ of Indian sci-fi movies. They are evidently trying to re-create the success of Marvel superhero, sci-fi films. However, it’s not a fault to derive inspiration as it’s a proven success formula. But how much space does it spare for ‘authenticity’ and creating a signature style of Indian sci-fi? This is a compelling question to ponder upon. India is venturing at a fast pace into the commercial, high-budget ‘Science Fiction Cinema’ industry. India also sports the great advantage of having an ‘ancient mythological world’ to incorporate into storylines and not just depend on mythologies of other countries, a trait that American sci-fi movies often carry.
Lackluster writing for Prabhas’ character
It appears that the legendary actor Amitabh Bachchan has become a staple for mythological films in India. His strong physical appearance, deep sturdy voice, and aura akin to mythical characters make him the perfect casting choice for playing characters like Parshuram. The South Indian superstar actor Prabhas plays the character of Bhairava, who is the reborn warrior Karna from Mahabharata. However, the actor seems to have become a liability for the film’s storytelling and overall performances. It’s important to note that it’s not the actor’s fault but the characterisation and writing provided for him. Unfortunately, his character often throws off the flow of the film with lousy humor, unrelated sequences to the plot of the film and an insufferable vanity. Each character in the film has a compelling depth of intention, negative or positive, however, Prabhas’ character lacks an entertainment quotient and the gravity of an intriguing plot. Hopefully, the sequels portray the character in a distinct light where we get to see multiple layers of acting, emotions, motives, and contribution to the plotline.
The franchise should also be cautious regarding the incorporation of unappreciated or forced humour into sequences, as it dries down the gravity and concept of a film. This is a case that we prominently observed with sequels of the franchise ‘Deadpool’.
A hint to ‘Capitalism as the New Supreme God’
A highly notable theme in the film is its incorporation of ‘capitalism vs. compassion’. We witness that each person’s sustenance is dependent on the ‘units’ they earn, and a person with 1 million units can enter the high-tech utopia, ‘Complex’. This is highly comparable to the currency system in practical life and how the amount of money we earn defines our standard of living. A person with a higher amount of money lives a comfortable life with high technology akin to Complex (i.e., modernised urban cities). The environment of the underprivileged ones will remind you of the film ‘Megalopolis’, and the series ‘Foundation’ – the division of the world into the two sections of elites and mechanical laborers. The theme is compelling and relevant as it portrays the extremity of capitalism, where all rights, compassion, and spiritual beliefs are denied.
Project K in the film was not just dedicated to the arrival of Kalki, but also abolishment of the mastermind of capitalism in the film, the Asura – a symbol of unprecedented and unlawful authority, a thirst of insatiable for power, and vanity. This might remind you of the hold that large conglomerates have on our lives and sense of worth. Capitalism believes that ‘Supreme/Asura is the one true God’. However, we see that people in Shambhala are worshipping the sacred tree (which has parallel to the tree ‘Eva’ in the film ‘Avatar’), and various other forms of God with traces of tribal and many other civilizations. This also represents the tussle between ‘singularity vs community’.
Conclusion
‘Kalki 2898 AD’ was a successful attempt at a sci-fi franchise creation, with a lot of potential for storyline. The film franchise should incorporate more cultural symbolisms, architecture, and sculpture in their setting to enhance the authenticity of the film based on ancient mythology. The plot of the film has a prime motive of evoking ‘devotion’ of the masses of the future for a ‘deity’ and an emblem of hope, thus, it is suitable to call the film a ‘religious science fiction’ Observing the trends in Indian filmmaking and audience reception, religious sci-fi will rise tremendously in India due to a change in narrative and mindset since 2020. It’s significant to remember that a film’s quality is determined by the ‘meaningful cinematic experience’ that it provides; the film has a scope to go beyond devotion and explore Artificial Intelligence, apocalyptic climate changes, and ancient philosophies in narration. Hence, Nag Ashwin has birthed an Indian film franchise that is worth looking forward to.