From ‘Jungle’ and ‘Sherni’ to ‘Kantara’ and ‘The Vvaan’: Forest Stories in Indian Cinema

“The Vvaan,” starring Sidharth Malhotra and Tamannaah Bhatia, comes to the theatres on September 25. The film is helmed by Arunabh Kumar, known for shows like “TVF Pitchers” and “Permanent Roommates.” In the last few years, the success of films like “Kantara” has made filmmakers aware of the potential of stories centered on India’s local regions. “The Vvaan” is positioned as a folklore thriller where a person must uncover secrets to save their village from a curse originating in the forests. The announcement of the release date was made with a motion graphic poster featuring a warrior-like figure resembling Lord Shiva, standing between a bull and a tiger. Indian forests have appeared on celluloid for decades. Ahead of the release of “The Vvaan,” here is a trip down memory lane….

The Forest as an Underused Cinematic Canvas 

Indian forests have served as the backdrop for many memorable films. Ram Gopal Varma’s “Jungle” features Fardeen Khan and Urmila Matondkar in the lead. The film was about two lovers who get trapped in a hostage crisis in a forest. “Kaal” (2005), which featured Ajay Devgn, John Abraham, Vivek Oberoi, Lara Dutta Bhupathi and Esha Deol, was another horror-thriller that explored the theme of wildlife conservation. 

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Vidya Balan’s outing as a dedicated forest officer in “Sherni” (2021) highlighted tiger conservation and the role of women in power play in culturally sensitive areas. Way back in 2009, Nandana Sen headlined “The Forest,” a film directed by Ashvin Kumar. While it earned critical acclaim for its technical finesse, it failed to perform at the box office. Actor and filmmaker Kamal Sadanah made a comeback in 2014 with “Roar: Tigers Of The Sundarbans,” an action-adventure film that was also one of Nora Fatehi’s earliest movies. 

Talking about forest-based adventure, Abir Chatterjee’s “Saptadingar Guptodhon,” a film around a treasure hunt set in the Sundarbans, is the highest-grossing film of the Bengali film industry in 2026. 

Regional Cinema’s Enduring Bond With the Wilderness 

Satyajit Ray’s 1970 classic, “Aranyer Din Ratri,” is hailed as one of his masterpieces. He beautifully captured the Palamu forest area of Jharkhand where a group of friends came to understand the clash between urban and tribal ideology. Fellow Bengali filmmaker Mrinal Sen made “Mrigayaa” (1970), which explored the friendship between a forest dweller and a British administrator obsessed with hunting. It was filmed in the forests of Odisha. 

In 1989, Jahnu Barua, the noted director from Assamese cinema, made “Banani,” hailed as one of the finest films of ecological conservation in India. Odia cinema has several noteworthy films that delve into the complexities of tribal life in forest areas, including “Bhukha” (1989), “Aranyaka” (1994), “Jiaanta Bhoota” (2009), and the 2026 action-drama “Laddo.” The Santhali community, which primarily resides in Bihar, Jharkhand, and West Bengal,l has made several films that tackle deforestation. 

“Kantara,” “The Vvaan” Combine Mythology, Forests and Folk Beliefs 

Rishab Shetty’s “Kantara,” set in the fringes of the forests in Tulu Nadu, showed audiences and filmmakers how a film with local flavor can capture the imagination of the entire nation. The concept of a local deity resonated with the majority of Indians. 

Much like “Kantara,” Arunabh Kumar’s “The Vvaan” is rooted in Indian mythology and folklore. The vast forests of Central India are full of fascinating stories related to mythology, animistic rituals and traditions revered for centuries. The region itself lends itself to a narrative packed with mystery, mysticism and adventure. A filmmaker can weave a story around the supernatural associations with tigers in states like Madhya Pradesh and Chhattisgarh, or narrate how ecological conservation is closely linked to the worship of trees and forest groves, which local residents regard as sacred. Deforestation is strictly avoided in those areas because locals believe it invites divine wrath. 

“Kantara” too had a similar theme, with the forest being guarded by Panjurli, a spirit deity. The divine entity was shown as a wild boar in the film. Panjurli and Guliga find reference in Dravidian folk Hinduism. “The Vvaan” is set in a region where Lord Shiva is worshipped as Baba Bageshwar Nath, which translates to “Lord of Tigers.” As per local traditions, people who live close to the forest pray to the tiger, seeking protection for their homes and livestock. Nandi, the bull who is the constant companion of Lord Shiva, also has a strong connection to the region. 

Filmmakers have realized that combining local beliefs, mythology and conflicts set in India’s heartlands offers a great chance of success in a grand cinematic retelling.