There has been a steady hum around KD: The Devil ever since it was announced. The conversations began early, the controversies followed, and the curiosity has only grown louder. But for director Prem, the film is not built on noise — it is built on instinct, experience, and a certain emotional truth that he believes will outlive the buzz.
“KD is Kaalidasa… and ‘The Devil’ is not one person,” Prem says. “It is a reflection of circumstances. Characters become what they become because of situations. That is why I call it a mirror of the devil.” It is a line that sets the tone for the film, hinting at a story that is less about good versus evil and more about the grey spaces in between. That layered approach, however, has not come easy. From censorship hurdles to the recent episode of the trailer being taken down, and reuploaded, KD has faced its share of obstacles.
“Censor rules are the same for every film. But somewhere, I had to go that extra mile,” Prem admits. “There were moments where it felt like I had to push harder than usual to get things cleared.”
More than the hurdles, what seems to have stayed with him is the absence of a strong support system within the industry. “Earlier, there were people who would stand by you, like Dr Rajkumar, Parvathamma Rajkumar, and Ambareesh. Today, that kind of backing is missing,” he says. At the same time, he acknowledges the support he received. “Kumaranna (Politician HD Kumaraswamy) stood by me during the censor phase, and I am grateful. Having said that, if filmmakers like us with experience do not get support, what happens to a newcomer? That is why I say, going forward, I will be there for others.”
For Prem, KD is a return to the space that once defined him — the raw, rooted storytelling of his Kariya and Jogi days. However, he sees it as a continuation rather than a comeback. “I have explored different genres at different phases. But this story comes from the 1970s, inspired by real emotions and real-life incidents. The underworld then was very different,” he says.
The casting of Dhruva Sarja in the lead role fits into that vision. “Dhruva had been wanting to collaborate with me for a long time. When this story came to me, I felt he would suit it, and when KVN Productions came into the picture, we decided to collaborate. Yes, there is bloodshed, but at its heart, this is a family story. Blood is thicker than water, and that emotion drives the film.”
The scale of KD reflects its ambition. Prem brings together some fine actors like Ramesh Aravind, Ravichandran, and Sanjay Dutt in layered roles, along with Shilpa Shetty and Reeshma Nanaiah in strong characters. Prem hints that the narrative will not offer easy closure. “Every character in KD will begin, but not end. This film is just a starting point,” he says, suggesting a world that extends beyond a single story.
Despite its violent backdrop, Prem insists that emotion remains the core. “People might see action and blood, but the last stretch of the film is filled with emotion. That has always been my strength,” he says. “For me, blood is not just violence, blood is emotion.”
His filmmaking process reflects that fluidity. Prem does not work with a rigid script, choosing instead to build scenes through discussion and instinct. “I am not a bound-script director. I don’t sit and write everything. I discuss with my team, improvise, and keep changing even till dubbing. I want reality, but I also want cinema,” he explains. In an era of rapid technological shifts, he remains aware of the need to evolve. “Today, we are standing alongside AI. At least we should match that level of imagination.”
Set in 1970s Bengaluru, the film recreates a time and texture that Prem believes will resonate with audiences. He credits his team for bringing that world alive, and points to the music as one of the film’s biggest strengths. “Arjun Janya’s music has a strong impact. We worked with a large number of musicians, and the background score takes the film to another level,” he says.
Yet, beneath the scale and spectacle, Prem returns to a simple, almost grounded thought when he speaks about what KD means to him. “I have made this film with love. As always, I have not spoken much about KD because circumstances led to different things. Moreover, I want the audience to talk about it,” he says.
In that sense, KD: The Devil stands as both a film and a test of a filmmaker’s conviction, of an industry’s support system, and ultimately, of the audience’s willingness to look beyond the noise and see the emotion within. “Like a farmer, I have done my work. Now I leave it to the people.”
