India criticised the attribution of attacks on Bangladeshi minorities to personal rivalries and political differences, saying it emboldens the perpetrators.
Earlier this week, the Academy of Motion Picture Arts and Sciences unveiled its annual roster of films eligible for Best Picture contention, listing 201 titles from around the world. Riding that wave of anticipation, Hombale Films confirmed on social media that it has formally submitted two of its biggest 2025 releases, Kantara: Chapter 1 and Mahavatar Narasimha, for Oscar consideration. According to the banner, both films have been entered into the Academy’s General Entry list, which opens doors to a wide spectrum of categories including Best Picture, acting, direction, production design, cinematography and screenwriting, subject to the Academy’s review process.
Produced by Vijay Kiragandur, the two films represent Hombale’s most ambitious year yet, blending scale, cultural relevance and strong box office pull. Though entry into the list is merely the first step in a long journey, it positions both titles on the same playing field as global heavyweights that dominated conversations through 2024 and early 2025.
Kantara Prequel Emerges as a Box Office Titan
Rishab Shetty returned to the universe he created with Kantara: Chapter 1, a prequel that explores deeper mythological terrain while expanding its emotional and visual tapestry. Featuring Rukmini Vasanth and Gulshan Devaiah in pivotal roles, the film became one of the highest grossers of 2025, amassing over 850 crore globally. Critics praised Shetty for amplifying the world building, harnessing grounded folklore and delivering a performance that anchors the film’s spiritual core.
International reviewers also noted the film’s technical prowess, especially in its use of natural landscapes and rooted traditions to elevate the cinematic experience. From immersive action staging to evocative sound design, Kantara: Chapter 1 emerged as a rare Indian film that could marry cultural authenticity with blockbuster spectacle.
Its Oscars submission feels like a natural extension of its domestic triumph. Though Indian films rarely break into the Best Picture race, Kantara’s strong critical and commercial momentum helps position it as one of the more visible Indian entries this year.
Mahavatar Narasimha Sets a New Benchmark for Indian Animation
If Kantara represents Hombale’s grip on prestige mass cinema, Mahavatar Narasimha marks an equally significant leap in animation. The film became the highest grossing animated feature in Indian cinema, collecting over 325 crore worldwide. It also sparked conversations around the evolving animation landscape in India, which has historically struggled to compete with international studios in technique and reach.
With its mythological inspiration, scale-driven action, and detailed artwork, the film earned praise for elevating the standard of locally produced animation. Its place in the Oscars long list situates it among global titles that have strong fan bases and franchise clout, even if the animation categories remain among the toughest to crack owing to dominant studio presence.
A Crowded Field With Major Hollywood Tentpoles
The Academy’s 201 film eligibility list also features a string of high-profile Hollywood productions, such as Jurassic World Rebirth, F1, Mission: Impossible The Final Reckoning, The Naked Gun, Sisu: Road to Revenge and Lilo and Stitch. The variety underscores how broad the long list tends to be each year. For perspective, last year even the much-criticised Siva directorial Kanguva, starring Suriya, found itself included. As always, presence on this list is not a guarantee of nomination as the field undergoes multiple rounds of scrutiny before the final voting.
Joining the Indian contingent this year are Tourist Family, Tanvi the Great and Sister Midnight, each vying for visibility among a crowded global slate.
Meanwhile, India already has one strong foot forward in the awards season. As reported earlier, Neeraj Ghaywan’s acclaimed drama Homebound has broken into the 15-film shortlist for Best International Feature Film. With the final Oscar nominations expected later this January, the industry is watching closely to see whether any of the Indian entries can convert long list presence into actual Academy nods.
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The legal battle surrounding Jana Nayagan reached a dramatic turn on Friday when Madras High Court Justice PT Asha directed the Central Board of Film Certification to issue a U/A 16+ certificate for Vijay’s much anticipated swansong. The H Vinoth directorial, produced by KVN Productions, had been scheduled for release on January 9 but was abruptly postponed after the CBFC ordered a re-examination, triggering confusion and unrest among fans.
Court Questions CBFC’s Authority to Reopen Cleared Films
While delivering the order, Justice PT Asha raised fundamental questions about the CBFC’s internal process, asking how a film could be sent back for review based on a complaint from a single member of the examining committee. She observed, “Once a U/A certificate has been granted to a film, the chairperson’s authority comes to an end.” She further stated, “Sending the film again for re-examination is unacceptable,” and set aside the directive that sought to reopen the certification process.
The verdict comes after days of intense courtroom exchanges. On January 7, Additional Solicitor General ARL Sundaresan, appearing for the CBFC, had submitted to the court a bundle of complaints received against the film. Among them was a grievance from a member of the examining committee itself. This prompted Justice PT Asha to question the board’s logic in entertaining internal dissent after the committee had already screened the film and recommended certification.
Producers Cry Foul as CBFC Seeks Urgent Appeal
Representing KVN Productions, senior advocate Satish Parasaran argued that once the examining committee had watched the film and placed its recommendations on record, it was irregular for one member to independently challenge the outcome. He questioned the procedural validity of the CBFC reopening the matter without following the established framework under the Cinematograph Act.
In response, ASG Sundaresan contended that the CBFC chairperson has overriding authority to constitute a new committee if dissatisfied with the findings of the examining panel. He submitted that since the certificate is technically issued by the board and not the committee, the chairperson can step in and call for a review if required.
However, Justice PT Asha was unconvinced, noting that such discretionary power cannot be exercised arbitrarily. By striking down the re-examination order, she effectively restored the original U/A 16+ clearance, offering relief to the makers who had been grappling with uncertainty over the film’s release.
But the legal saga did not end there. Soon after the verdict, ASG Sundaresan mentioned the matter before Chief Justice Manindra Mohan Shrivastava, seeking an urgent hearing of a writ appeal against Justice PT Asha’s order. The Chief Justice-led bench indicated that if the petition was filed, it would consider taking it up later in the day, although the CBFC requested that the hearing be scheduled for Monday.
The postponement of Jana Nayagan earlier this week had already sparked disappointment across fan circles, especially given the film’s emotional significance. Marketed as Vijay’s final film before he transitions fully into politics, the action drama had generated record advance buzz. Trade analysts estimate that the opening weekend was poised to break box office records in Tamil Nadu before the censor complications forced the producers to hit pause.
Starring Mamitha Baiju, Pooja Hegde, Prakash Raj, Bobby Deol, Gautham Vasudev Menon and Priyamani in key roles, Jana Nayagan has been positioned as a mass political actioner that mirrors the star’s own ideological journey. The trailer, which went viral within hours of release, further amplified expectations that this would be a watershed moment in Vijay’s career.
Now, with the High Court having cleared the film but the CBFC preparing to challenge the ruling, all eyes are on what unfolds next. For fans, the relief of the U/A certificate is tempered by the uncertainty of yet another courtroom showdown. For the industry, the case once again raises uncomfortable questions about censorship, accountability and whether procedural ambiguities continue to cloud the release of big ticket films in India.
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