
2.0
2018

Representation Score
Good
2024
PG-13Director
Nag Ashwin
Runtime
176 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Kalki 2898-AD is a significant achievement in storytelling that challenges the Western dominance of the science fiction genre. By blending ancient mythology with speculative futurism, it offers a fresh, non-Western perspective on the genre. The film's strength lies in its multi-layered approach to culture and class. It uses a mythological foundation to critique contemporary systemic inequalities and the corruptive nature of concentrated wealth. However, the film remains traditional in its gender and LGBTQ+ depictions. While it challenges technological clichés, it does not expand the range of identity or disability representation.
Category Breakdown
The film follows conventional structures that assume everyone is straight or cisgender. There is no indication of non-traditional gender identities or same-sex relationships in the story.
The narrative challenges traditional gender roles by focusing on Sumathi, a divine figure who drives the main conflict. Despite Bhairava embodying a masculine archetype, Sumathi's role is central to the story.
The film features a predominantly South Indian cast, which helps to challenge Western-centric sci-fi clichés by placing Hindu mythology in a futuristic setting.
The film uses religious symbols to critique the hoarding of resources and class divisions. It explores the struggle between 'The Complex' and the wasteland to highlight systemic power dynamics and the concept of justice.
There is limited representation of characters with visible or invisible disabilities. The focus remains on the physical abilities needed for survival.
Present on Screen
Limited or Absent
Official Synopsis
In the year 2898 AD, around 6000 years after Kurukshetra war, Ashwatthama gears up for his final battle of redemption at the sign of hope in a dystopian world and Bhairava, a wisecracking and self-interested bounty hunter, tired of the perilous life becomes the hurdle in the process.

2018

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