‘Shambhala’ movie review: A restrained Adi Saikumar directs a serious but uncompromising mystical thriller

When a filmmaker sets out to tell a story based on popular trends, the best thing he can do is to start his work as soon as possible. The longer the delay, the greater the risk of losing the target audience. ShambhalaDirected by Ugandhar Muni, the mystical thriller is a desperate attempt to ride the wave, though it does it honestly.

reaction of an audience Shambhala It probably depends on how they choose to engage with it – what the film wants to say versus how it says it. Shambhala based on successful trips like Kartikeya And VirupakshaWhere a city-raised, atheist outsider enters a superstitious, insular village that preaches reason over faith, but is transformed by a series of events.

A mythological story about a tough battle between the demon Andhakasura and Shiva provides the necessary context ShambhalaNamed after the village where it is established. It’s the 1980s, and the appearance of a meteorite matches that of a cow bleeding during milking. This ominous connection frightens the residents to such an extent that they name the meteor ‘A’ Banda Ghost (A very big ghost).

Vikram (Adi Saikumar), a geologist, is assigned to gather information about the meteor. The conflict between science and faith has been exposed from the beginning. The outsider is deployed as a protector of the cow, when an archaic custom prompts villagers to kill the animal to ward off an evil spirit associated with the meteor.

Despite initial mistrust, Vikram gradually wins the trust of the village. The director establishes a clear pattern for the gruesome deaths in Shambhala and builds tension around the spirit’s murderous rage, which grows more deadly over time. How does the hero end the killing spree and prevent further damage? The second part answers that question.

Stock characters populate the narrative – a sage-like man whose wisdom is rooted in scriptures, a sarpanch who wields his authority with impunity, and a friendly but vulnerable constable who stands by the hero and introduces him to the ways of the village. All of them have unwavering faith in a local deity. An underground passage eventually uncovers everything Vikram needs to know about the deaths.

Stripping away the ritualistic mumbo-jumbo, Shambhala Works best when it portrays divinity as an attribute of those who have good intentions, and portrays victims of evil spirits as people who fail to keep their evils – greed, jealousy, anger, hatred – under control. While it lacks innovation, there’s minimal fuss, little distraction, and the storytelling remains largely grounded.

The wild, slightly unexpected turns in the second hour are particularly fascinating. Even after the director reveals the workings of the soul, the urgency of the treatment takes you by surprise, proving that there’s still fuel left in the tank. Still, despite whatever goodwill the film has built up by then, the lazy climax is disappointing.

In an attempt to bridge science and faith with a final one-liner about temple bells, the film ends on a note that feels less like a profound revelation and more like a suspicious WhatsApp forward. Shambhala Knows exactly what it wants to be: a well-crafted doppelganger of a proven success. A strong team helps the director achieve this, but its appeal remains limited.

It’s also tiring to see filmmakers making little effort to question problematic events of the past. Why is a village always portrayed as ignorant and in need of reform? Why do his children never go to school? How does the always arrogant outsider uncover the region’s buried secrets? Why should women exist only as victims or passive witnesses?

Aadhi Saikumar’s mature, controlled performance is the strong, broad shoulders on which the film rests. However, the factory-model treatment does not allow most actors to make a strong impression. Madhunandan and Annapurnamma are prominent among the supporting cast. Archana Iyer’s quirky style doesn’t gel with the film, while Swasika Vijay has been cast in a written role.

Thankfully, composer Sricharan Pakala’s strengths have been utilized well in the thriller genre, and the situational songs don’t feel like speed-breakers. While the aesthetics – particularly the use of graphics, CGI and AI-generated visuals – feel clunky at times, there is a genuine effort to create an eerie atmosphere. The writing is perfectly functional, but the execution shows more courage.

Shambhala Yugandhar Muni benefits from a strong performance by Adi Saikumar, a capable storyteller, and solid technical contributions. However, they deserved to come together for a more original story.

published – December 25, 2025 03:30 PM IST