The conversation around KD: The Devil continues to intensify, and Rakshita Prem has now issued a firm, clear-eyed response, standing by director Prem as criticism grows louder. She took to Instagram to share her opinions on the matter.

The issue is regarding the single, 'Sarse Ninna Seraga Sarse', which has drawn sharp reactions for its lyrics, with voices like Armaan Malik raising concerns. The debate widened further after objections to the Hindi version led to complaints and notices being issued to the film’s team.

Rakshita, however, reframed the argument with her statement. She questioned why songs with suggestive undertones were once embraced without much resistance, while a similar expression today is being singled out. For her, the larger concern lies in this shift—whether audiences are responding to the content itself or reacting to the climate around it.

She also cautioned against judging a song in isolation, noting that cinema is built on context and intent. Prem’s choices, she suggested, come from an understanding of storytelling and audience sensibilities, not from a need to create noise. Reducing that to a gimmick, she implied, overlooks the consistency of his work.

Beyond the film, Rakshita addresses the nature of criticism itself. She draws a distinction between questioning and belittling, arguing that while disagreement is valid, the language of public discourse has increasingly turned personal. It is a line she speaks about not just as an observer, but as someone who has faced it.

She also said, there is also an undercurrent about the space Kannada cinema occupies today. With audiences consuming more explicit and global content across platforms, she points to the contradiction of holding local films to a different standard. For filmmakers, the struggle, she notes, is as much about reach and acceptance as it is about creation.

Her closing thought is measured. Audiences have every right to form an opinion once they watch a film in theatres, she said, and filmmakers will continue to strive to do better. But her response leaves behind a question that lingers—are we reacting to what we see, or to what we have decided to be uncomfortable with?