Agnyathavasi marks the debut production for Hemanth M Rao’s new banner, Dakshayani Talkies. While this isn’t Hemanth's first brush with producing—he was a part-time producer for Humble Politician Nograj—Agnyathavasi carries a deeper emotion for the filmmaker. “My mother introduced me to stories. I lost her to cancer. As they say, if you want to honour a name, you must do good work. That’s how Dakshayani Talkies was born,” says Hemanth.
Previously operating under Lost and Found Films, the new name Dakshayani Talkies carries legacy and intent. Hemanth is clear that this isn’t just about theatrical films. He’s opening doors to diverse content formats. “We can’t watch every story in theatres. That’s why, along with Agnyathavasi, we’re also releasing a few short films. I want to be known for chasing good stories—that’s the goal of Dakshayani Talkies,” he explains.
But why turn producer again? “At one time, I’ve knocked on many doors with my stories. Sometimes, you have to create your own space. I didn’t have money; I took a loan. That’s how Godhi Banna Sadharana Mykattu happened, when I collaborated with Pushkar. If someone says they’ll produce my film, I’d still be thrilled—but I had to start somewhere.”
As a producer on Agnyathavasi, Hemanth didn’t wear the director’s hat. “Janardhan is the director. I collaborated during story discussions, but once the camera rolls, it's his interpretation. That’s the kind of producer I want to be—supportive, not overbearing.”
Still, with a strong directorial brand behind him, the pressure is real. “A film’s outcome, win or lose, is part of the cycle. But in this film, the only name is Rangayana Ragu. He is the face. We’re all behind him—he represents our work.”
Having worked closely with Rakshit Shetty, one wonders whether he is the go-to person for advice for Hemanth.
“Of course, Rakshit, with whom I started with Godhi Banna... has always encouraged writers and directors and even started Seven Odds. He gave me the chance to direct Sapta Sagaradaache Ello. He’s like a sounding board. It’s good to have someone like him in your corner.”
On why Kannada films still struggle to find space on OTT platforms, Hemanth says, “The market has changed. OTT isn’t as strong as before. Today, the only space where we still have respect is the theatre. Look at the Malayalam industry—they still make films for the big screen.”
And what about support systems for writers in the Kannada industry? “We don’t even have a facility to register stories—only titles. There’s no proper credit or remuneration system. That needs to change. If we build a strong base for writers, the industry will grow.”
For Hemanth, the solution begins at home. “I’m not fighting a big battle. But in my capacity—as a director or producer—I make sure writers are respected. I know Rakshit does too. When individuals behave responsibly, the industry slowly shifts. We need to compete. We can tell great stories—if we have the right mindset, and we need to carry that attitude," he concludes.