Mahavatar Narsimha is India’s first major 3D animated mythological film that is breaking box office records with its epic storytelling and innovative animation. Explore the film’s story, success, and impact on Indian cinema.
There’s something subtly bold about Mahavatar Narsimha. On the surface, it’s a retelling of a familiar myth,Vishnu’s fourth avatar, the half-lion, half-man deity who descends to destroy the tyrant Hiranyakashipu. But this isn’t another religious animation made just for a small group of viewers. Directed by Ashwin Kumar and backed by Hombale Films (the studio behind KGF, Kantara, and Salaar), Mahavatar Narsimha positions itself as something much larger, India’s entry into high-concept, large-scale mythological animation with global ambition. And for once, the results live up to the goal.
When was Mahavtar Narsimha Released?
Released theatrically on July 25, 2025, across five Indian languages,and expanding to overseas markets like the UK, Europe, and Australia on July 31,the film is India’s first major 3D animated mythological epic. And while that sentence might read like marketing copy, the scale and seriousness of the project are hard to deny. Developed over nearly four and a half years, the film isn’t just an adaptation. It’s a carefully updated version of how Indian mythology is shown on screen.
What is the Story of Narsimha?
The story, drawn from the Vishnu Purana, is basic but powerful. Hiranyakashipu, a demon king who believes himself to be invincible and divine, seeks to eradicate worship of Vishnu. His young son, Prahlad, remains devoted despite growing threats. The climax, inevitable yet powerful, comes in the form of Narsimha, a being that is neither a man nor beast, appearing at sunset to keep a promise and set things right.
Why is Narsimha Movie trending?
What makes it work on screen is the discipline with which the film builds up to its most powerful moments. The animation is very life-like, but not too perfect. There’s a noticeable weight to the environments, a clear purpose in the way lighting is used and moments,especially in the Varaha and final Narsimha sequences,where the scale isn’t too much, but still makes it feel epic.
Ashwin Kumar, also credited as co-editor, keeps the pacing deliberate. The film doesn’t rush to its set pieces, which makes them land harder. When it falters, it’s usually in the quieter stretches, where some explaining weakens the emotional impact . But even those moments carry a kind of conviction. The storytelling isn’t afraid to slow down, which, in animation especially, is a risk not often taken.
Who were a part of this movie?
The voice cast-Aditya Raj Sharma, Haripriya Matta, Sanket Jaiswal, among others,delivers measured, unfussy performances across languages. The music by Sam C. S. avoids being overly emotional, and instead creates mood and tension. The production never leans too hard into grandeur for its own sake. There’s reverence here, yes, but also control.
Response and Reaction
Critics responded with a mix of respect and guarded optimism. The Times of India called it a “grand visual odyssey,” noting its technical ambition while acknowledging the occasional emotional flatness. India Today emphasized the film’s spiritual tone, praising its compassion and clarity, and gave it a solid 3.5 stars. On platforms like Reddit, the film earned praise from viewers who appreciated its “fantastically presented climax” and “essence-capturing dialogue,” with some rating it as high as 8.5/10.
But perhaps the film’s remarkable achievement lies in its box office numbers. On Day 1, it opened modestly at ₹1.75–2.29 crore. By the end of its opening weekend, it had surged to ₹15.85 crore—an almost 400% jump. By Day 6, it had reached ₹37.05 crore, making it the highest-grossing Indian animated film to date, surpassing Hanuman. Importantly, it did this with a budget of only ₹15 crore. By the sixth day, it had nearly doubled its investment, creating its status not just as a cultural event, but a commercial success.
Regional Breakdown Of Narsimha Movie
The regional breakdown is also notable,Hindi and Telugu versions drove the bulk of earnings, with Tamil, Kannada, and Malayalam versions contributing solidly. Occupancy rates were high,81% in Chennai, 72% in Bengaluru, 59% in Hyderabad signaling genuine audience interest beyond the traditionally niche animation demographic.
And this is where the film’s real impact starts to take shape. Mahavatar Narsimha isn’t just an animated success story; it’s a reframing of what Indian animation can be. The film marks the start of the Mahavatar Cinematic Universe, a planned seven-film series spanning Vishnu’s Dashavatara, culminating with Kalki by 2037. It’s an ambitious roadmap, and it wouldn’t matter if this first film had stumbled. But it didn’t. It landed, and it landed hard.
What sets it apart is not the spectacle, but the intent. The film doesn’t pander, doesn’t dilute, and doesn't try to make mythology “relatable” by dressing it in pop-culture shorthand. It respects the source material, It uses modern tools to tell an ancient story without flattening its spiritual dimension. In doing so, it challenges the long-held assumption that Indian animation is inherently second-tier,technically or thematically.
Apparently, Mahavatar Narsimha isn’t the best 3D animation movie. There is indeed space for improvement and enhancement; A few sequences feel over-edited, and the dialogue occasionally veers into functional rather than evocative. But these aren’t failures of imagination; They’re growing evidence of a creative team pushing against the boundaries of what’s been done before.
And pushing matters. Because now there’s a precedent. Now audiences know this is possible. Now studios know it can work.
If Indian cinema has always had the stories but not always the tools to tell them at scale, Mahavatar Narsimha changes that equation. It isn’t the end of a journey. It’s the beginning of one. And if future entries in this cinematic universe hold their nerve the way this one does, we may look back on this not just as a hit film, but as the moment Indian animation found its voice.
By Aditi Sawarkar
