Kantha is so dense with meaning and layers and emotional subtext that a simple reading of whether it’s good or bad, impactful or not, would be a grossly reductive, unfair response to it. The longer I contemplate the film, the more it seems to reveal itself… the writing choices and the emotional motivations underneath its…

The Good Adhik Ravichandran’s cinema is a genre unto itself—it’s not so much a film as a rave party. And like all parties, some are more intoxicated than others. It’s not a space for nuanced conversations or emotional coherence. At any given moment, someone’s dying in slow motion, as we laugh and cheer or both….