Indian cinema is witnessing a fascinating comeback of Gods, divine warriors, ancient legends and spiritual mysteries. But this time, the stories are arriving with superhero transformations, breathtaking visual effects, futuristic worlds and ambitions that stretch far beyond a single language market. From the success of ‘Hanu-Man’, ‘Hanuman Ansh’, and ‘Mahavatar Narasimha’ to the anticipation surrounding ‘Ramayana’ and ‘Mookuthi Amman 2’, spiritual storytelling is emerging as one of the most exciting trends across Indian film industries.
For decades, devotional films have held a special place in Indian cinema, particularly in the South. What is changing now is the way filmmakers approach these stories. Instead of restricting to traditional devotional dramas, they are transforming it into action adventures, animated spectacles, fantasy thrillers and interconnected cinematic universes. The result is a new wave of films attempting to bring India’s rich spiritual heritage to younger audiences while attracting viewers across linguistic and geographical boundaries.
The Telugu film industry has been at the forefront of this transformation. Prasanth Varma’s ‘Hanu-Man’, starring Teja Sajja, emerged as a major example of how Indian mythology could be adapted into a contemporary superhero film. Released in January 2024, the film followed an ordinary young man who acquires extraordinary powers connected to Lord Hanuman. By combining devotion with action, humour, fantasy and emotional storytelling, the film found an audience well beyond its original language market. Its success strengthened the case for mythology-inspired commercial cinema and paved the way for the proposed sequel, ‘Jai Hanuman’, which is expected to expand the Prasanth Varma Cinematic Universe. Another example from Telugu industry is ‘Kartikeya’ franchise.
If ‘Hanu-Man’ demonstrated the possibilities of live-action devotional superheroes, ‘Mahavatar Narasimha’ showed how animation could bring divine stories to the big screen with equal ambition. Directed by Ashwin Kumar and released in 2025, the animated film retold the story of Prahlada, Hiranyakashipu and Lord Vishnu’s Narasimha avatar. Presented by Hombale Films and produced by Kleem Productions, the film combined familiar religious narratives with large-scale action and dramatic visual storytelling. Its success brought renewed attention to Indian animation and the possibilities of developing mythological stories into a long-running franchise. The planned Mahavatar Cinematic Universe is expected to continue with ‘Mahavatar Parshuram’, followed by additional stories inspired by the avatars of Lord Vishnu.
Interestingly, the spiritual film movement is not limited to divine characters and mythological battles. ‘Hanuman Ansh’, which has been associated with the spiritual legacy of Shri Neem Karoli Baba, represents a different approach to faith-based storytelling. Rather than relying on spectacular supernatural sequences, such projects explore spiritual experiences, the influence of saints and the relationship between faith and everyday life. Their emergence suggests that audiences may be receptive to a variety of spiritual narratives, from large-scale fantasy adventures to more intimate stories centred on belief and personal transformation.
Tamil cinema, meanwhile, is preparing to revisit one of its more unconventional devotional fantasy franchises. ‘Mookuthi Amman’, released in 2020 and starring Nayanthara as the titular deity, blended religious themes with comedy, social commentary and contemporary life. Directed by RJ Balaji, the original film offered a modern interpretation of a goddess entering the lives of ordinary people, while also examining the exploitation of religious faith. Its sequel, ‘Mookuthi Amman 2’, directed by Sundar C, is scheduled for release on November 6, 2026. Nayanthara returns in the lead role, with an ensemble cast reportedly including Duniya Vijay, Regena Cassandra, Urvashi and Yogi Babu. With Hiphop Tamizha composing the music, the film is expected to bring mythology and contemporary entertainment together once again. Its release could provide an important example of how Tamil cinema is adapting devotional storytelling for a modern theatrical audience.
However, few upcoming projects have generated as much anticipation as Nitesh Tiwari’s two-part ‘Ramayana’. Produced by Namit Malhotra’s Prime Focus Studios in collaboration with Yash’s Monster Mind Creations, the ambitious adaptation features Ranbir Kapoor as Rama, Sai Pallavi as Sita, Yash as Ravana, Sunny Deol as Hanuman and Ravie Dubey as Lakshmana. With international visual-effects expertise and a production designed for a large-scale theatrical experience, the film aims to bring one of India’s most enduring epics to a new generation of moviegoers. The challenge will be to balance spectacle with the emotional depth, moral conflicts and cultural significance that have made the Ramayana relevant for centuries. Its two-part format offers scope for a more expansive treatment of the characters and their journeys.
Another major project generating curiosity is S. S. Rajamouli’s ‘Varanasi’, starring Mahesh Babu, Priyanka Chopra Jonas and Prithviraj Sukumaran. Planned for release in April 2027, the film is expected to blend adventure, spiritual and time-related elements. Although its complete storyline remains under wraps, the combination of Rajamouli’s large-scale filmmaking and a narrative reportedly connected to mythological themes has placed it among the projects attracting considerable attention. Meanwhile, Maddock Films’ planned ‘Mahavatar’, starring Vicky Kaushal as Lord Parshuram, represents another attempt to bring a mythological figure to life through a large-scale live-action production.
The growing appetite for spiritual cinema is also visible in films inspired by regional folklore. Rishab Shetty’s ‘Kantara’, released in 2022, brought the traditions and deity worship associated with coastal Karnataka to a much wider audience. Its prequel, ‘Kantara: Chapter 1’, released in 2025, explored the folklore and spiritual beliefs underpinning the franchise. What made the films distinctive was their emphasis on local customs, ancestral traditions and the relationship between communities and the divine. Rather than using mythology merely as a backdrop for action, the Kantara films made spiritual belief central to their dramatic world.
Malayalam cinema has contributed to this wider movement through ‘Lokah: Chapter 1 – Chandra’, directed by Dominic Arun. Drawing inspiration from Kerala folklore, the film reimagined supernatural legends through a contemporary superhero framework. Its larger franchise ambitions reflect an emerging idea across Indian cinema: regional mythology need not remain confined to its place of origin. With the right characters, storytelling and visual presentation, local legends can connect with viewers unfamiliar with their original cultural context.
The trend extends to futuristic fantasy as well. Nag Ashwin’s ‘Kalki 2898 AD’, released in 2024, combined science fiction with Hindu epics, drawing on the prophecy of Lord Vishnu’s future avatar, Kalki. Featuring Prabhas, Amitabh Bachchan, Kamal Haasan and Deepika Padukone, the film created a dystopian world in which ancient beliefs and epic traditions shaped a technologically advanced future. Its planned sequel is expected to continue that story. Telugu fantasy adventure ‘Mirai’, released in 2025, similarly drew on ancient knowledge, sacred artefacts and mythology-inspired mysteries, showing how spiritual references can inform original commercial narratives rather than direct adaptations of religious texts.
Animation is poised to become another important part of this expanding landscape. Alongside the planned ‘Mahavatar Parshuram’, projects such as ‘Maha Devi Adishakti – The Legend of Maa Durga’, ‘Shiva: The Adiyogi’ and ‘Chiranjeevi Hanuman – The Eternal’ point towards growing interest in animated portrayals of divine figures, sacred legends and spiritual traditions. Their production and release plans should be followed through official announcements, but their ambitions indicate that filmmakers and studios are increasingly considering animation as a medium for large-scale Indian mythological storytelling.
The appeal of these films is not difficult to understand. India’s epics and Puranic traditions offer an enormous collection of characters, conflicts and moral questions. Stories involving duty, sacrifice, justice, courage, devotion and the struggle between good and evil have survived for generations because they speak to fundamental human experiences. Modern filmmaking allows directors to reinterpret those ideas through new visual languages, more complex characters and genres that audiences already enjoy, including superheroes, science fiction and fantasy adventure.
The pan-Indian theatrical model has further expanded the opportunities. A Telugu film can reach Tamil, Kannada, Malayalam and Hindi audiences through dubbed versions, while stories rooted in regional traditions can attract national attention when they are presented with compelling characters and accessible themes. Streaming platforms have also familiarised viewers with films from other industries, making it easier for regional folklore and unfamiliar mythological traditions to find new audiences.
Yet the current wave is not guaranteed to succeed simply because a film features a god, an epic or an elaborate visual-effects sequence. Audiences will continue to expect engaging screenplays, convincing performances, memorable music and coherent world-building. Filmmakers must also find a balance between creative interpretation and the cultural significance of the material they adapt. Spectacle may draw viewers into theatres, but the emotional strength of the story will determine whether it stays with them.
From Hanu-Man’s mythological superhero to Mahavatar Narasimha’s animated divine spectacle, from Kantara’s regional spiritual traditions to the scale of Ramayana, Indian cinema is exploring a much wider definition of devotional storytelling. With ‘Mookuthi Amman 2’ bringing a contemporary Tamil perspective to the genre and several mythological projects planned for the coming years, the movement is becoming increasingly diverse.
Perhaps the most significant change is that Indian epics are no longer being treated merely as a collection of stories from the past. For a new generation of filmmakers, it is a creative universe filled with characters, ideas and possibilities waiting to be explored. Whether through animation, live-action epics, regional folklore or futuristic fantasy, the next chapter of Indian cinema may well be shaped by epics that have been part of the country’s culture for centuries.