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Kantara Chapter 1 box office day 1 (updated live): Rishab Shetty film crosses ₹50 crore, beats Vicky Kaushal's Chhaava

Updated on: Oct 02, 2025 08:26 pm IST

Kantara Chapter 1 box office collection day 1 (updated live): The Rishab Shetty film opened to positive reviews, with many praising the lead performance.

Kantara Chapter 1 box office collection day 1 (updated live): Rishab Shetty‘s prequel to 2022’s Kantara is one of the most anticipated releases of the year. The Dusshera release is not just one of the most high-profile Kannada films of all time, but also among the biggest festive releases pan-India this year. According to the latest update, Kantara Chapter 1 has already surpassed the 50 crore mark.

Kantara Chapter 1 box office collection (updated live): Rishab Shetty film is looking at a bumper opening.
Kantara Chapter 1 box office collection (updated live): Rishab Shetty film is looking at a bumper opening.

Kantara Chapter 1 box office update at 8 PM

The Sacnilk report states that Kantara Chapter 1 collected 53.32 crore on its opening day of release. It has already crossed the opening day collections of several hit films of the year, including Saiyaara ( 22 crore), Sikandar ( 26 crore), and Chhaava ( 31 crore). Can it beat Pawan Kalyan’s OG ( 84 crore) and Rajinikanth’s Coolie ( 65 crore)? It seems unlikely.

Jr NTR tweeted about the film and wrote, “Congratulations to the team of #KantaraChapter1 on scoring a resounding success. @shetty_rishab sir pulled off the unthinkable by excelling both as a mindblowing actor and a brilliant director. My best wishes to the entire cast and crew, along with @hombalefilms, for fearlessly backing Rishab sir’s vision.”

HT review of Kantara

An excerpt from the Hindustan Times review of the film read, “Rishab Shetty balances the folk traditions that have inspired the film with modern sensibilities better this time around. Chapter 1 gives its women more agency than the first film ever did. But even this one can’t resist the knight-in-shining-armour trope. However strong the woman is, a man must rescue her in the end. Rishab Shetty’s writing seems to allow women to have power and independence only when they rebel or antagonise. Otherwise, it is reduced to tokenism. However, still props to the writer-director for giving a female character more prominence this time around, and even giving her some of the most powerful moments in the film.”

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