Actor-director Anshuman Jha’s Lakadbaggha 2: The Monkey Business, the sequel to his 2023 film Lakadbaggha, will have an exclusive market screening at the Marché du Film, Cannes. One of the few Asian action films at Cannes, the film is being championed by the German production company Webfilmland Productions.
Beyond its high-octane action, the film carries a powerful environmental core, spotlighting the plight of the critically endangered Yaki Monkey. the species which has dwindled to fewer than 5,000 by 2025 (compared to nearly 50,000 in 1990) due to illegal wildlife trade and habitat destruction. Backed by First Ray Films, the film positions itself as a first-of-its-kind cinematic effort merging martial arts spectacle, cross-cultural storytelling, and urgent environmental commentary.
Speaking on the film’s market debut, Anshuman said, “Lakadbaggha 1 was rooted in my love for dogs; Lakadbaggha 2: The Monkey Business widens that lens to all animals. We wanted to elevate the action—not just in intensity, but in meaning. Because beyond the fights lies the question of what you stand for. Marché du Film gives us the platform to bring this story to global audiences who value cinema that engages both the heart and the mind.”
Set against the backdrop of Indonesia, the film marks a significant milestone as the first official India–Indonesia co-production, bringing together a dynamic pan-Asian cast led by Sunny Pang (Headshot, Havoc), Dan Chupong (Ong-Bak), alongside Adil Hussain (Life of Pi), Sarah-Jane Dias (Angry Indian Goddesses), and Anshuman Jha (LSD, Chauranga).
Jennifer Pengal of Webfilmland Productions shared, “We have been tracking the Lakadbaggha, ever since it won the Vision Award at the 2023 Stuttgart Film Festival. The global landscape doesn’t have an animal-lover vigilante, and India hasn’t produced an international martial arts star in this space. This film delivers both.”
Jennifer also praised Anshuman for his ‘Bruce Lee-like intent, authenticity, and raw presence,’ adding “What makes this film truly stand out is that the action isn’t just spectacle—it has purpose. It gives a voice to the voiceless. This feels like a step forward for Asian martial arts cinema.”