Kalki 2898 AD Sequel Gets Closer to Finish Line -Producer

Fans of the sci-fi epic “Kalki 2898 AD” can rejoice! Producer Ashwini Dutt, head of Vyjayanti Films, has announced that a significant portion of the sequel’s filming is complete. Released just days ago on June 27, 2024, the first movie left viewers eager for more.

Dutt confirmed that nearly 60% of the shooting for “Kalki Part 2” has wrapped. The team has successfully filmed several crucial scenes, leaving only the major portions remaining. This news comes as a welcome relief for fans who were captivated by the film’s world and its story.

While an official release date hasn’t been announced yet, the swift progress on filming suggests audiences won’t have to wait too long to witness the continuation of Kalki’s journey. With key scenes already captured, the remaining major portions likely involve high-impact action sequences or complex narrative moments that require meticulous planning and execution.

This update is sure to generate excitement among fans who are eager to see how the story unfolds. Stay tuned for further developments on the release date and more details about the remaining filming schedule for “Kalki Part 2.”

“Kalki 2898 AD”: Box Office Bonanza Meets Mythological Debate

The sci-fi epic “Kalki 2898 AD,” starring Prabhas, Amitabh Bachchan, Kamal Haasan, and Deepika Padukone, has become a box office behemoth. The film’s grand visuals, ambitious scale, and stellar performances have captivated audiences, propelling it past the ₹700 crore mark with a projected climb towards ₹1,000 crore. However, amidst the laudatory chorus, veteran actor Mukesh Khanna has expressed reservations about the film’s handling of Hindu mythology.

While Khanna acknowledges the film’s technical prowess and acting caliber, he critiques its creative liberties with the Mahabharata narrative. He specifically points out a scene where Lord Krishna removes a jewel from Ashwatthama’s forehead, supposedly anointing him as a future savior. Khanna contends that this contradicts established mythology, stating, “Lord Krishna never said this… How could you presume to know more than the Vyas muni?”

Further elaborating, Khanna clarifies that Draupadi, not Krishna, ordered the removal of Ashwatthama’s jewel as retribution for her slain sons. He questions the film’s logic, stating the absurdity of a powerful Krishna seeking protection from Ashwatthama. Khanna concludes by expressing disappointment with the creative choices, particularly from South Indian filmmakers who, he believes, traditionally hold greater reverence for cultural traditions.

Khanna advocates for the formation of a government committee to oversee films based on Hindu scriptures like Ramayana and Gita. This committee, he proposes, would have the authority to scrutinize and potentially alter scripts to ensure adherence to mythological accuracy.

The critical acclaim for “Kalki 2898 AD” is undeniable, but Mukesh Khanna’s concerns highlight the potential tension between creative license and adherence to established narratives in mythological films. The debate surrounding the film underscores the enduring importance of these epics in Indian culture and the complexities of translating them to the modern screen.