On the picturesque outskirts of Hyderabad, in the serene locale of Shankarpally, lie the expansive sets of director Nag Ashwin’s cinematic masterwork, “Kalki 2898 AD.” This Telugu extravaganza boasts an ensemble cast featuring stalwarts like Amitabh Bachchan, Prabhas, Kamal Haasan, and Deepika Padukone. Nestled within these sets is an entrance to the mythical land of Shambala. Among the many spots on the set, the flight of white stairs leading to Shambala holds a special place in Ashwin’s heart; he often finds himself watching the sun dip below the horizon from this vantage point. While some of the set parts have suffered rain damage and are awaiting reconstruction for the sequel, Ashwin is currently enjoying a brief hiatus before diving back into the project. In an exclusive interview a day before his vacation, Ashwin shared insights about the monumental undertaking.
Standing on the land where the elaborate set of Shambala is laid out, Ashwin elaborates on the meticulous planning that went into creating this utopia. “We spent an extensive amount of time conceptualizing and establishing colonies for people from various nationalities and religions within Shambala; it felt like city planning,” he explains. Depicted in the film as a sanctuary for people from diverse ethnic roots and faiths, Shambala serves as a symbol of hope. Characters like Rumi (Rajendra Prasad), Mariam (Shobhana), Kyra (Anna Ben), and Veeran (Pasupathy) embody the narrative of seeking a new dawn within this utopian microcosm.
Initially, Ashwin contemplated opening the film with Shambala, but later decided to commence with the Kurukshetra segments to highlight the struggles of Ashwatthama. The hidden land of Shambala, filled with lore from Tibetan and Indian culture, is portrayed with significant grandeur. Impenetrable Himalayan ranges guide the way to Shambala, drawing comparisons with the hidden kingdom of Wakanda from “Black Panther” or the magical walls leading to platform 9¾ in the Harry Potter series. “Such ideas were part of our subconscious during the planning stage due to the influences of our reading and viewing habits,” says Ashwin. Although these inspirations became more identifiable as Wakanda gained prominence, Indian literature’s rich references to Shambala also played a major role in their conceptualization.
Pivotal to Ashwin’s story is Kamal Haasan, portraying the enigmatic Supreme Yaskin. Set in a dystopian future interwoven with elements from the Mahabharata, “Kalki 2898 AD” merges Indian mythology with science fiction. Reflecting on the film’s reception, Ashwin expresses his delight that younger audiences have shown an interest in Indian epics, a demographic he aimed to engage with a vision close to his childhood love for “Star Wars” and later, Marvel films.
“The concept of reimagining Kasi as the last surviving city was compelling,” Ashwin mentions.
. Production designer Nitin Zihani Chaudhary had previously elaborated on the intricate designs of various settings, depicting demigods residing underground while rakshasas ruled from above. “We aimed to flip the script on what typically characterizes the kali yuga,” adds Ashwin.
In the first part, the audience receives a glimpse of the Supreme Yaskin and his mysterious Project K, sparking curiosity about his backstory. The murals leading to Yaskin’s chamber depict mankind’s evolution, and he is presented at the threshold of a new transformation. “Yaskin is a classic figure whose quest for power creates his own nemesis; the next part will delve into this dynamic,” Ashwin shares. The film’s intricate plot—where Ashwatthama (Amitabh Bachchan) must ally with Bhairava (Prabhas), the reincarnation of Karna, to safeguard hope in a crumbling world—has birthed many fan theories and discussions, something Ashwin finds intriguing and exciting.
Social media buzzes with speculation, and Ashwin is quite amused by some interpretations, noting with a laugh that people are linking Dulquer Salmaan’s character to Parasuram. However, the parallels, such as depicting Deepika Padukone’s character SUM-80 walking through fire analogous to Krishna’s journey, are intentional.
One of the film’s strongest pillars is Amitabh Bachchan’s imposing portrayal of Ashwatthama, an ancient hero standing eight feet tall. The challenge for the technical team was to ensure that the visual effects were seamless. “Good VFX should go unnoticed,” remarks Ashwin, adding that extensive iterative processes were undertaken to achieve realism in effects ranging from sand textures to background elements.
Nag Ashwin remains hopeful that “Kalki 2898 AD” will appeal to audiences beyond the Indian diaspora, potentially mirroring the success of SS Rajamouli’s “RRR” on the international stage. “The global interest in diverse narratives is ripe, and with the right organic buzz, we can push our marketing further,” he observes.
Reflecting on his journey, from the success of “Mahanati” to the monumental task of “Kalki 2898 AD,” Ashwin admits moments of self-doubt about the escalating complexity. Yet, he remains committed to creating impactful storytelling, a trait evident since his debut film, “Yevade Subramaniam.”
A burst of creative relief comes from the animated prequel series “Bujji & Bhairava,” which Ashwin describes as a fun project. As he and his team gear up for the sequel, Ashwin teases a grander scale with new worlds like the ‘Flux Lands’ yet to be explored. “With Yaskin stepping out of his vimanam, the sequel is set to be even more expansive,” he concludes.
As Ashwin readies himself for the next chapter of this epic saga, one thing is clear: “Kalki 2898 AD” is poised to captivate, intrigue, and inspire audiences like never before.
