Rukmini Vasanth’s career has been a steady journey. From her debut in Birbal Trilogy (2019) to Baanadariyalli (2023) and Bagheera (2024), or Bhairathi Ranagal (2024), she carved a distinct space for herself in Kannada cinema. With Sapta Sagaradaache Ello A & B (2023), she was able to push her horizons beyond Karnataka. This success took her to Tamil cinema, where she starred alongside Vijay Sethupathi (Ace), and Sivakarthikeyan (Madharaasi). She also has pan-Indian projects like Prashanth Neel-Jr NTR's Dragon and Yash-Geethu Mohandas' Toxic in the works. And in a few hours, Rukmini will face the biggest release of her career with Rishab Shetty’s much-awaited Kantara: Chapter 1, which is set to hit the screens today.
Excerpts from a conversation:
Rukmini, you are stepping into a world so deeply rooted in folklore, devotion, and the land itself...
It was so clear from the audience's response that Kantara was made with immense love and devotion. So when you step into this world as an actor, it becomes important to understand the cultural context and its rootedness, so that you can do the utmost justice to it. First credit goes to Rishab Shetty, who explained it to me with patience. Until then, I was not aware of bhoota kola, daiva, or many of the Dakshina Kannada cultural aspects. This helped me understand the world of Kantara.
You are not new to two-part films, but playing Kanakavathi would have been a new challenge, right? You are a newcomer in an already established universe
It was nerve-wracking in the beginning. With the original team reuniting and me being the new entrant, it felt daunting. But this is made as a prequel. While there are connections to the world we saw in the original, Kantara: Chapter 1 also functions as an independent story. It’s the same world, but set in a different time. So there was no pressure since we treated it as a new film.
The trailer went viral, and so did the AI-generated memes about one of your poses in the film...
I actually find memes very amusing. People are very creative with them. I saw someone where I was tarring roads or making chowmein—it was hilarious!
In contrast, playing Kanakavathi would have been quite daunting, right?
As Kanakavathi, I had to emotionally connect with the rituals, the music, and the atmosphere. Honestly, Kanakavathi is not anything like me. This role has a different kind of body language altogether, and isn't getting to embody different worlds and characters the best part of being an actor? And I have to make it believable, right? If I don't connect with the core of the character, how will the audience?
What do you think is the cultural impact of telling stories of the land on the big screen?
One of the reasons we all know the Ramayana and Mahabharata is that they have been passed down from generation to generation. Likewise, it’s a great effort by Rishab Shetty and Hombale Films to tell such rooted stories. Cinema is a powerful and multidisciplinary medium that has the power to carry these stories forward.
Your performances have been getting noticed even in star-studded vehicles. Will you ever play a character that is only there for the five-song and romance scenes, and little else?
Honestly, I’ve never had the chance to be part of films indulging in five songs and romantic scenes, though that too would be challenging, albeit in a different way. Cinema offers song-and-dance routines, and as a dancer, that excites me. I hope, many years from now, I will look back and say I was part of different genres. Only after you try can you know whether that space works for you or not.
You also seem to be enjoying the perks of being an actor by improving your skillset with each project.
My strong suit has always been dialogue and drama, which is my comfort zone. Kanakavathi challenged me a lot, and I learned sword fighting, dance, and horse riding for the film. Similarly, I enjoyed learning to surf for Baanadariyalli.
How does it feel to become a pan-Indian actor?
I don’t know if this is a ‘step’ as people call it. Honestly, pan-India is all about the audience, and I hope it happens naturally. Storytelling styles and acting expectations vary across different industries. Each has its own rhythm. But the core of performance remains the same.
But is there pressure to be a pan-Indian actor in today's times?
Luckily, the audience has never made me feel pressured. People are very film literate now. They give a lot of credit to writing, direction, and performances. In that way, there is less pressure and more appreciation. In fact, what excites me are stories that allow me to grow. My career has shown versatility, and I enjoy shifting between folklore-rooted films like Kantara and contemporary or urban roles