In a recent conversation with the press, Kannada filmmaker Suni couldn’t help but express his admiration for the sci-fi thriller “Blink,” directed by debutant Srinidhi Bengaluru. He opined that had “Blink” been a Malayalam film, it would likely have reached a wider audience, a testament to the subtle regional biases within Indian cinema. Yet, Suni’s assertion wasn’t baseless speculation; it came amid the backdrop of an exciting phase for the Malayalam film industry, which had just produced three back-to-back blockbusters: “Premalu,” a romantic comedy, “Bramayugam,” a horror drama featuring the legendary Mammootty, and “Manjummel Boys,” a gripping survival drama. Particularly notable was “Manjummel Boys,” which effortlessly cruised past the ₹200 crore mark and enjoyed stellar box office performances across diverse regions, including Tamil Nadu and Karnataka, as well as its Malayalam homeland.
To understand the scale of their achievements, one must consider the fans’ coinage of “Premayugam Boys,” a term that drew parallels to Hollywood’s “Barbenheimer,” a fusion of “Barbie” and “Oppenheimer”—encompassing a myriad of successful American releases. Such was the commanding presence of these films that it seemed they monopolized the cinematic narrative.
Amidst this highly competitive climate, “Blink” made its debut on the Mahashivaratri Friday, March 8, concurrently with two much-anticipated Kannada features, “Karataka Damanaka” and “Ranganayaka.” Armed with an inventive time-travel concept, “Blink” featured crisp screenwriting and compelling performances from Dheekshith Shetty, Chaitra J Achar, and Gopalkrishna Deshpande, which harmonized to position “Blink” as an unexpected frontrunner in the Kannada box office race.
The film, which launched with a modest distribution of 17 shows across Karnataka, encountered an upsurge in popularity, fueled by the positive word-of-mouth commendations. By the start of its third week, “Blink” had significantly expanded to 87 shows, a feat particularly noteworthy for a movie crafted by relatively unrecognized talents.
“We were aware of the risks involved with ‘Blink’ being an experimental movie,” recalls Srinidhi. The widespread prediction was that the film would cater only to a niche multiplex audience. Nevertheless, Srinidhi and his producer, Ravichandra AJ, another theater aficionado, were determined to bring their creative vision to fruition.
In sharp contrast, both “Karataka Damanaka” and “Ranganayaka” fell short of expectations and were quickly forgotten. The Kannada audience, known for their support of well-crafted thrillers, gravitated towards “Blink” and found their trust rewarded. By Monday of its first week, the film was reporting a 90% occupancy rate across all screens.
“Blink” acknowledges its influences openly, citing inspiration from American films such as “Predestination” and “Primer,” the timeless tragedy “Oedipus Rex,” and the Kannada classic “Ranganayaki.” Operating on a constrained budget, the creative team succeeded in crafting a refined sci-fi film that delivered on quality writing and production without compromising on its premise.
Moreover, the climax of “Blink” stirred considerable attention. Srinidhi shares, “Though many admitted to not fully grasping the ending, they still enjoyed it. Some even debated the possibility of overlooked logical gaps. Given that the sci-fi genre hasn’t been extensively explored in Kannada cinema, we took pride in how the audience engaged with the Easter eggs we had woven throughout the narrative.”
The strategic promotion by Ravichandra AJ was instrumental in the movie’s sustained buzz. Eschewing the conventional press interview blitz, they capitalized on the audience’s immediate reaction post-release. By aggregating audience response videos on social media platforms like X and Instagram, and reaching out to viewers to gauge interest in additional screenings, they curated a demand-driven expansion of shows. As Ravichandra remarked, this approach garnered approximately 25,000 responses, which, in turn, convinced multiplexes to grant more showings in response to the palpable public interest.
Reflecting on the reception of “Blink,” Srinidhi emphasizes the readiness of Kannada audiences for innovative content and urges the industry to have faith in the public’s appetite for diverse narratives. He worries that without embracing new genres and stories, the industry might risk losing touch with its viewership.
Both Srinidhi and producer Ravichandra, a native of Kalaburagi, revel in the success of their bold venture. Despite the initial skepticism they faced from numerous producers and distributors, their perseverance to create a unique film experience has paid off, and “Blink” stands as a triumph not only for them but for the evolving landscape of Kannada cinema.
