Rukmini Vasanth on 'Kantara: Chapter 1' and How Vyjayanthimala's 'Amrapali' Look Influenced Her Character

If 2023 was Rukmini Vasanth’s breakout year in Kannada cinema with SSE Side A and Side B, the last two years have seen the actor endear herself to audiences across south India with her roles in films like Bagheera and Madharaasi. Now, the Bengaluru native looks forward to her biggest project yet with the pan-Indian release of Kantara: Chapter 1, in which she plays the role of the princess Kanakavathi. Touted to also be part of Geetu Mohandas’ Toxic (headlined by Yash) as well as Mani Ratnam’s next directorial, Rukmini's career trajectory couldn't be going any better.

Ahead of the release of October 2, she talks to us about all things Kantara, Kanakavathi, and how she is as obsessed with the memes around her character as we are.

Edited excerpts from an interview:

Being a RADA alumnus as well as an army kid who constantly shifted and adapted to different environments and cities, you have mentioned earlier how both these aspects to your formative years hugely influenced your sense of discipline and adaptability. While shooting for such a physically-intense project like Kantara: Chapter 1, did these traits come into play?

It did come into play massively! If you’ve seen the trailer, it showcases so many of the places that we have shot at; we filmed almost entirely at live locations. For the year or so I was involved with the film, shooting took place in the regions around Kundapur, which is where Rishab sir is from. At any given point in time, the locations we were shooting at were about an hour’s drive away from habitable spots, so we had to get in the car and head up or trek around 45 minutes to get to the area. This is not just the actors; everyone from the technicians and production too… almost seven different units all braving the torrential Western Ghats rain. So, yes, while my army kid background and the fact that my parents instilled this never-say-die attitude kicked in personally, there were so many other people who got through this with a gung-ho demeanour! Maybe it’s the magic of film and all that, no?

After Rishab Shetty cast you, did you have any creative inputs towards designing your character in the film and what agency she has?

My role was very clearly etched out to begin with. In fact, as soon as they finished the first Kantara movie, the team gave themselves just about enough time to sort of celebrate the success for like a week, and then dived straight back into sketching out Chapter One. The entire plot of the film was clearly laid out, including the character of Kanakavathi and her space within the general arc of the film. The only input that I gave to the team was that I was game for anything, be it action or dance or whatever. If there was anything at all they wanted me to learn — for instance, I trained a lot in horse-riding for the film, I hope some of it has made it into the final cut — I asked them to pitch it to me without any hesitation. Having said that, as a young actor, I might know the whole story, but I don’t think it’s my place to go and suggest any creative changes. 

Rukmini Vasanth and Rishab Shetty in 'Kantara: Chapter 1'

Similar to the first film, the expectation is that Chapter One will also delve into a lot of Karnataka folklore, traditions and themes — and pay tribute to native mythology. Can you tell us more about this?

The first film dealt with this general, inherent conflict of nature in its sort of unbridled form and civilisation and humanity — and everything that we do essentially to control nature — and the resolution of that kind of conflict. Because we can't obviously live outside of nature, but it's very clear that we can't constantly control it for our own benefit. So the kind of middle ground that was found within the first film was very fascinating to me. It is also something that Rishab sir sort of delved into during our trailer launch in Bangalore; he said that the core exploration of nature versus civilisation is something that is inherent to the Kantara franchise, and it will be explored regardless (of the other storylines). So people can expect to see that in a different context, maybe in a different time period, but I will be very cautious about revealing anything else!

Your look for Kanakavathi has come in for a lot of praise already from what we have seen of her in the early footage; did a lot of research go into designing the visual aesthetic of the character?

With any kind of creative art, I think it's difficult to be entirely fresh; we constantly reference films or art that's come before. But one distinct reference that I do remember Pragathi (Shetty), our costume designer, showing me was of Vyjayanthimala from Amrapali (1966). So we kind of really threw it way back there! Pragathi and her team had done a lot of work in terms of studying the sculptures and carvings in temples — since this is the fourth or the fifth century, so we have very little written information on that period — as they were trying to decide what the hair design could be, and how to figure that out in a modern day context. And then, the rest.. you know, obviously putting it all together and actually making it happen every single day, was the make up and costume team.

Rukmini Vasanth

Kanakavathi has also become the subject of so many incredible… cooking memes on social media. Nobody knows how or why. 

I have so many thoughts on this. I mean, to start with, the Internet is unparalleled. I love it. But in the film, I’m sword-fighting and there’s, like, proper heavy duty talwarbazi going on… but here, guys, you’ve made me make chow mein on the streets! I truly respect the Internet — but next time, guys, please hesitate a little. 

2025 has also been an important year for you in terms of entering the Tamil film industry, with the releases of Ace and Madharaasi; what have been your learnings with respect to the making and feedback to both films?

Ace was one of my first out and out comic films, and comedy is an incredibly hard genre to work with. But luckily, I had the incredible chemistry of Vijay Sethupathi sir and Yogi Babu sir who are just magic together. So there was a lot of learning there in terms of comic timing, or the power of sometimes silence in eliciting comedy. A lot of my work has been more tilted toward the dramatic so far, and Ace allowed me the opportunity to stretch that muscle.

Rukmini Vasanth and Sivakarthikeyan in 'Madharaasi'

With regards to Madharaasi, it was my first first full-on commercial, intro song moment, if you know what I mean — that’s the dream honestly! It’s one thing to do intense, sustained close-ups, but could I pull off just an eye shot or lip shot during an intro song? I distinctly remember working a lot with Murugadoss sir and our choreographer, Brindha master, to figure this out and it was a lot of fun. I feel like I'm getting to expand in multiple directions as an actor, and I have no sense of judgment or flippancy about trying different things. 

Your performance in both the Sapta Sagaradaache Ello films continue to garner you plaudits even today; is there another romance of that ilk on the cards anytime soon?

I'd really love to do another film like a Sapta.. another deep, sort of involved romance, in the sense, something that requires a lot from you. I found that that process was very, very gratifying, and there was also a lot of love that I was rewarded with based on that film. But I also know how rare those roles and those films are.

On the topic of deep romances, can you either confirm or deny if you’re working with Mani Ratnam on a love story next?

I can't! (laughs) I will be non-committal to my answer for now and hope that everything works out!