Kanguva is Tamil director Siva’s attempt to mount an epic story spanning a millennium on a spectacular scale, yet the larger-than-life presence of Suriya and visual opulence don’t quite make up for its lack of emotional depth.

The storytelling is woven around two timelines — one set in the present and another set almost a thousand years ago. In the present, Suriya plays bounty hunter Francis, who feels drawn to a boy called Zeta, who has been subjected to disturbing brain experiments by Russians. His strong connection with Zeta perplexes Francis, and as the story unfolds it becomes clear that their bond is rooted in a past life dating back to 1070 AD when Francis was Kanguva, a tribal chieftain’s fearsome son committed to defending the island of Perumachi from Roman invaders. Kanguva faces a series of betrayals and power struggles, ultimately clashing with his sworn enemy Udhiran (Bobby Deol), the leader of the rival Arathi clan. The zigzagging timelines gradually reveal how the destinies of Francis, Kanguva and Zeta are intertwined.

The plot around the present-day research facility experimenting on children feels disconnected from the story of a mega tribal war that the audience was primed to immerse in. Here, Francis is like an outsider to his own story, with the scenes often veering into tonal dissonance. Once the story shifts back to 1070 AD, director Siva finds his footing. The film’s strength lies in its world-building, and credit goes to the visual team, led by cinematographer Vetri and art director Milan, for bringing the ancient period to life. Devi Sri Prasad’s music complements the visuals, occasionally evoking the grandiosity of Baahubali.

The action set pieces, though they look more like spectacle for spectacle’s sake, are impressive. The battle scenes, particularly those involving snow-capped mountains and a crocodile, are beautifully choreographed and packed with energy.

Suriya is the beating heart of Kanguva, and his performance in the title role has a fierce intensity marking both his screams of anguish and moments of silent reflection that is striking. Bobby Deol makes for a menacing adversary in terms of appearance in his Tamil debut but is reduced to being a one-dimensional villain whose motivations aren’t properly fleshed out. The same goes for the rest of the cast, including Disha Patani and Yogi Babu, who are largely wasted in roles that could have added emotional complexity.

Given these weaknesses, it is frustrating to see the film’s makers trying to ride the franchise wave and position Kanguva as the first of a two-part saga. The way Kanguva ends, you feel more confused than eager for a sequel.