With glam diva Rashmika Mandanna essaying the role of a blood-sucking bethal in her latest spooky thriller Thamma, and Kantara: Chapter 1 celebrating the “trance” moments of believers, Indian cinema seems to be plunging deeper into the supernatural and mystical realms. The recent release Mirai explored black magic, while the Telugu film Virupaksha glorified witches, tantras, and mantras. This raises a question — has cinema started moving backward instead of forward?
“I think audiences are smart enough to understand that these unscientific and irrational ideas are purely meant for entertainment,” says producer Lagadapati Sridhar. “Filmmakers are exploiting paranormal worlds to add shock value — packing their films with jump scares and dark characters to transport viewers into an unknown paranormal world. I’ve heard that audience trances inside theatres were once orchestrated, but not anymore. The dark world fascinates the new-generation audience, and some of these films have minted gold at the box office.”
When asked whether such unscientific themes are now gaining mainstream acceptance — once confined to the Ramsay Brothers’ low-budget horror flicks released in remote pockets — Sridhar agrees. “True, the Ramsays made several horror films that were never considered mainstream. But today’s filmmakers have brought the genre to the forefront with visually appealing films loaded with shock value. Casting big stars like Rashmika Mandanna expands the market and attracts southern audiences too,” he explains.
On the idea of “suspension of disbelief,” he adds, “Audiences treat these films like a roller-coaster ride — enjoying all the thrills and chills before returning home without carrying any of it in their minds. So, there’s nothing to worry about science or intelligence being tested.”
Writer Gopi Mohan calls these mystical and supernatural sagas a “new-age fad.” “Gen Z loves these mystical and socio-fantasy stories — from Karthikeya to Mirai — as they connect the modern world to mythical realms,” he notes.
On invoking gods to fight evil forces in cinema, he says, “Rishab Shetty mastered this genre by blending devotion with heroism, achieving pan-India stardom. Similarly, young actor Teja Sajja has crafted a superhero image with back-to-back god-centric films like Hanu-Man and Mirai — and he’s racing ahead.”
He also points to another key factor: curiosity. “Once trailers of such films are released, audiences become eager to see what lies within. With action and romantic dramas turning predictable, supernatural thrillers have taken center stage — spinning box-office magic,” he explains.
Gopi Mohan further observes that the trend benefits mid-range filmmakers, too. “They can deliver impactful stories without depending on big stars, yet still create heroic moments that grip audiences. Much of the revenue for such films comes from single-screen theatres across towns and villages, where belief in black magic and spirits still prevails. These films also break the monotony of song-dance routines and clichéd comedy tracks. They rely solely on strong content and edge-of-the-seat storytelling that keeps audiences hooked till the end.
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