On a Monday afternoon (June 23, 2026), several shows in Bengaluru were filling fast for the Samantha Ruth Prabhu starrer Maa Inti Bangaaram. It’s an action comedy, with Samantha elevating the frame with every punch, chase, and stunt. This kind of response on the first weekday after the opening weekend is something any Kannada hero would give his right arm for.

Fans are praising Samantha as the “Lady Superstar.” The Telugu filmis reported to have crossed ₹50 crore at the worldwide box office. The question of why Kannada has fewer female-led movies has no clear answer, as the industry continues to underutilise several gifted female performers.

‘Macho protagonists’

“I see fewer stories from a woman’s perspective in Kannada. I continue to see macho protagonists,” actor-politician Ramya, a bankable star in the 2000s, had often expressed her concern.

Malashree, who entertained a generation with her action-oriented role, will be seen in a movie also starring Rukmini Vasanth, the latest sensation in Indian cinema. The movie, bankrolled by KVN Productions, the makers of Vijay’s Jana Nayagan, could be a relief from the “hyper masculine” stories in the Kannada film industry.

While we wait for the emergence of strong female-led films in Kannada, the last couple of months have reiterated an even more basic dark truth: local audiences have become far more receptive to stars from neighbouring industries. For example, Peddi, starring Ram Charan, released on June 5, 2026, went on to become a blockbuster, with impressive performance in Bengaluru.

The relatively small pool of stars in Kannada cinema, compared to other film industries, has added to the challenges faced by an industry that has endured several setbacks in recent years. The industry is paying the price for having denied the regular movie-going Kannada audience quality content for many years.

“It’s like the Tenali Raman and the cat story,” director Tharun Sudhir (Kaatera, Roberrt) tells The Hindu. “He gave the cat piping hot milk. On seeing the milk next time, it ran away, thinking it was being given hot milk. Similarly, the industry consistently produced poor content, leading several film buffs to lose trust in Kannada movies.”

Young actors need support

That said, Tharun wants the Kannada audience to be more welcoming of new actors aiming big in the industry. Mango Pachcha, the debut of actor Sanchith Sanjeev, nephew of superstar Kichcha Sudeep, had all the ingredients of an engaging crime drama. It was an unconventional launch, with no typical hero-introduction song or punch dialogues. The character-driven movie had enough scope for all actors to shine.

Apart from the moniker ‘Jr Kichcha’, the movie didn’t seem like a forceful attempt to capitalise on Sudeep’s legacy. “Throughout the movie, we were conscious that we would not show any scene that makes me look like a star. Because if I need to appear like a star, I need to have a certain kind of aura around me. I am building my reputation and still getting introduced to the Kannada audience. If I start behaving like a star too soon, the audience will write me off,” he tells The Hindu.

Sanchith’s sensible words, positive reviews from those who saw it in the first week, or critical acclaim, nothing helped Mango Pachcha attain box office success. The movie once again called attention to Kannada audiences’ resistance to watching their own movies in cinemas, especially those starring new actors. Peddi, which was released on the same day as Mango Pachcha, enjoyed good footfall, despite mixed reviews and a controversy involving the objectification of Jahnvi Kapoor, the female lead.

Ram Charan, the star of Peddi, has done two movies (Peddi and Game Changer) after his global success of RRR (2022). His co-star from the SS Rajamouli movie, Jr NTR, has also done two movies (Devara and War 2) since then. His Dragon, with KGF director Prashanth Neel, is set for 2027.

Fewer star films

Compared to their Telugu counterparts, Kannada stars have had long gaps between their projects. Yash, who last starred in KGF: Chapter 2 in 2022, will be making his big-screen return after more than four years with Toxic: A Fairytale for Grown-Ups, on August 26, 2026. Rakshit Shetty has not announced his next project after featuring in the acclaimed relationship drama Sapta Sagaradaache Ello Side B in 2023. There will be no Sudeep release in 2026.

The reasons for stars featuring in fewer projects range from personal choices to stop-start plans. “If you love your profession, you need to take a break to feel fresh and get back to it. Cinema is a creative field, and you may go blank sometimes. I will not plan my career based on how another actor’s career is shaping up. I have no such insecurity,” Sudeep had told The Hindu ahead of his movie Max (2025).

No justification can satisfy fans. Frustrated by the lack of updates about Sudeep’s projects, the actor’s fans planned a “Wake Up Sudeep” campaign on X. The development forced Sudeep to clarify the status of his upcoming movies.

“I hear you all. Keeping myself busy with other things doesn’t mean I have taken your love for granted. Some situations needed my presence,” he wrote, addressing his fans. “There is nothing I love more than making a movie, to tell stories and entertain. Hitting the floors soon with Billa Ranga Baasha, and then it’s a continuous process of making movies. I have locked four scripts, and I am excited to start them all soon.”

Director Suri’s debut Duniya, the raw crime drama, made Vijay an overnight star. Eight years later, when he made the gripping road thriller Kendasampige with two newcomers (Vikky Varun and Manvitha Kamath), the director famously remarked that he could even make a coconut-seller a hero, a statement that reflected his confidence in his storytelling rather than star power.

“When I think about offbeat stars, Shankar Nag is the first actor who comes to mind. There was something about him that gave us hope about cinema. It was inspiring to see him say yes to roles that were considered risky for stars,” says Suri. According to the filmmaker, Raj B. Shetty is the last star yet to fully earn the audience’s trust in Kannada cinema.

“What he did with Garuda Gamana VrIshabha Vahana (2021) was so special that it gave me the creative high I got when I read my favourite books, such as Kusuma Bale and Karvalo. He is here to stay despite some slip-ups because he has earned the backing of people,” Suri reasons.

Industry insiders feel cinema has moved beyond stars. What does the gigantic success of Obsession tell us? It shows people are interested in films that give them an experience and not just entertain. Kannadigas are flocking to theatres to watch this horror sensation. The movie earned the most in Karnataka compared to the rest of the screenings across the country.

Blind pan-India chase

The success of the KGF and Kantara films helped Kannada filmmakers access a wider market and gain national visibility. “But did we utilise the platform set by those movies? No,” says Suri.

There was a noticeable rush among producers to chase the pan-India trend, often funding mediocre scripts in the process. Dhruva Sarja decided to take his stardom beyond Sandalwood and failed, delivering three forgettable movies: Pogaru, Martin, and KD. Upendra’s attempt with Kabzaa and UI did not yield the expected results.

Filmmakers unanimously accept that the passing of Puneeth Rajkumar has dealt a huge blow to the industry. “His movies gave the vibe of a wholesome family drama that the entire household would not want to miss,” opines Suri.

Director Pawan Wadeyar, who worked with Puneeth in Rana Vikrama (2015) and Natasaarvabhowma (2019), says he was never conscious or obsessed with his star image. “If he were, he wouldn’t have done a social drama such as Mythri (2015),” says Pawan.

For producers and cinema owners, a despondent atmosphere in the ‘B’ & ‘C’ centres is an alarm bell. Darshan is one of the most dependable stars in the Kannada industry, with his fandom spreading across regions of the state. With him in prison in a murder case and no clarity on his future, it’s not happy news for many stakeholders in the industry.

Malayalam vs. Kannada

Amid a low turnout for Kannada movies, Vijay Raghavendra has quietly delivered an “OTT hit”. The actor’s Second Case of Seetharam did decent, if not extraordinary, business in theatres. It was a different story altogether when the movie dropped on Prime Video. “So far, the movie has crossed 150 million streaming minutes,” informs Pawan, who presented the movie.

This is a welcome development for the industry, especially with prominent platforms such as Netflix and Prime Video not open to Kannada originals. “OTT platforms have shown me the data of people from Karnataka watching Malayalam content over anything else,” points out Tharun.

Malayalam thrillers are red-hot favourites for binge-watchers on OTT. “It’s reached a stage where if we see a Malayalam film poster featuring a cop, it’s given that it will do well.” Tharun’s claim isn’t an exaggeration, considering how Dridam, the recent cop thriller, has performed on OTT after being a theatrical flop in Kerala. The movie is one of the most discussed among the Kannada crowd on social media.

With no cushion of a sure-shot OTT deal, Kannada directors are left with the option of achieving theatrical success. The likes of Ganesh and Duniya Vijay had a dream start to their careers, setting box office records. If only they had chosen better scripts, they would have been a better box office prospect than they are today. When established stars fail to evolve with changing audience tastes, viewers naturally begin looking for fresh faces. The Malayalam film industry offers a striking example of this shift, with talents such as Mamitha Baiju and Anaswara Rajan achieving widespread popularity and star status before the age of 25.

The relatability factor

Swaroop Kodur, film writer, says relatability goes a long way in shaping stardom. “To be a superstar takes a journey. The audience should feel that he or she is a homegrown talent. For Yash, Kirathaka (2011) was a game-changer. The movie had the Mandya sogadu (flavour), the characters looked real, and Yash’s talent was on display. He pulled off the brute, village boy character convincingly,” he explains.

Swaroop highlights the importance of obtaining the filmgoers’ trust. “Every time a film of his came out, Yash never limited himself to acting. He gave the impression that he was building his career from scratch, ensuring every film of his was done well. This process included ignoring mediocre projects. It’s time stars take up more responsibility and take their reputation seriously.”

Gilli Nata, the latest Bigg Boss winner, is aiming for this kind of relatability in his acting career. With 2 million followers on Instagram, his popularity has spread beyond urban centres. People from rural pockets are going crazy about him.

“Gilli is a smart person. He had fully done his homework ahead of the Bigg Boss. He knew exactly how to get the attention on him and impress people. All the Bigg Boss promos throughout the season had visuals of Gilli. That’s the impact he created on the show. His comic timing is good. If filmmakers can cash in on his dialogue delivery and write comic entertainers, Gilli will thrive in cinema,” says an industry insider.

Swaroop feels stardom is also propelled by regional affinity. “Rakshit Shetty is the best example for it. Stardom is a combination of factors. It takes a journey. In Telugu, Allu Arjun explored a series of interesting characters, showcasing his skills in every movie, like trying complex dance moves or portraying tricky characters. You must make the audience feel that you aren’t taking them for granted. Another important aspect is widening one’s ecosystem. Rakshit, Daali Dhananjaya and Rishab Shetty brought passionate individuals, like young directors and writers, to their team. The duo became the face of a project, overseeing the work of their technicians and writers. It’s a crucial aspect to remain relevant in today’s time,” he reasons.

A star with a difference

Rangayana Raghu’s reinvention as a character-driven lead actor (Shakhahaari, Agnyathavasi) is a big plus for filmmakers who want to create memorable movies with gifted actors who aren’t conventional stars. “In commercial cinema, the popular notion is that an actor who can produce a strong opening to his film is a star. I don’t see it that way,” says Nagaraja Somayaji, a one-film-old filmmaker whose next with Rangayana Raghu - Devi Mahatme - has created buzz for its intriguing trailer.

“Raghu sir has created an interest in his performance through his successful stint as a comedian for decades. Now, he is stepping into a new phase, playing the main character. He is capable of bringing value to unique scripts, and that’s a quality of a star, according to me.”