Ramayana VFX Breakdown: 6 Moments From Ranbir Kapoor’s Film Fans Can’t Stop Talking About

The much-awaited first glimpse of Ramayana (titled “Rama”) dropped on Hanuman Jayanti, April 2, 2026, and has already sparked intense reactions. Directed by Nitesh Tiwari and produced by Namit Malhotra’s Prime Focus Studios in association with DNEG, the eight-time Oscar-winning VFX powerhouse behind Dune, Interstellar, and Inception, along with Monster Mind Creations, this two-part epic is slated for Diwali 2026 (Part 1) and 2027 (Part 2). It aims to retell Valmiki’s timeless tale for a global audience.

Filmed specifically for IMAX, the film features a massive ensemble. Ranbir Kapoor plays Lord Rama, Yash steps into the role of Ravana, Sai Pallavi appears as Sita, Sunny Deol as Hanuman, and Ravie Dubey as Lakshman. The music, a collaboration

between A.R. Rahman and Hans Zimmer, adds another layer of ambition.

Early screenings in Los Angeles and New York drew emotional responses, with viewers describing the scale as breathtaking and Ranbir’s portrayal as divine. However, once the teaser went public, reactions became sharply divided. While many see it as Indian cinema’s biggest visual spectacle, potentially rivaling The Lord of the Rings, others point to moments that feel artificial, video game-like, or not in sync with the reported ₹4,000 crore budget and DNEG’s pedigree. Comparisons to Adipurush have surfaced, although most agree this is a clear step forward.

Here is a detailed breakdown of six key scenes from the approximately two-and-a-half-minute teaser. Some highlight DNEG’s IMAX-level craftsmanship, while others add fuel to the debate around AI-heavy visuals. The teaser blends live-action with heavy CGI across forests, battles, mythical creatures, and divine imagery.

1. The Boat Sequence: Celestial Glory or Subtle AI Polish?

This is the teaser’s most emotionally resonant moment. Ranbir’s Rama sits calmly on a boat drifting through a mist-covered forest river. As his name is called, he turns slowly, his expression reflecting quiet divinity and inner resolve.

Viewers at early screenings described this scene as sacred, supported by a swelling score and a sense of stillness. The lighting, water reflections, and atmosphere feel immersive, especially on an IMAX canvas.

Magic or Overkill?

This strongly supports the film’s potential. The restraint in performance and the seamless blend of character with environment showcase DNEG’s strength in subtle visual work. Some viewers have pointed out minor inconsistencies in foliage or mist, but overall, this stands out as the teaser’s most effective moment. It hints at a cinematic experience that could match global fantasy standards.

2. Ranbir Kapoor’s Rama Reveal (Battle to Exile Montage)

Ranbir appears in golden armour across multiple settings, from serene forests to glimpses of large-scale conflict. His performance relies heavily on controlled expression, conveying righteousness and calm intensity.

Magic or Overkill?

Largely successful. The character remains grounded, and the VFX enhances rather than overwhelms his presence. However, certain wide shots, particularly involving armour textures or movement, feel overly polished and slightly artificial. Despite that, it remains one of the teaser’s strongest elements and builds anticipation around his full portrayal.

3. Battle Montages: Epic Scale or Generic Chaos?

The teaser cuts rapidly through large-scale battles, with arrows flying, armies colliding, and expansive landscapes filling the frame. The visual ambition is clearly geared toward IMAX viewing.

Magic or Overkill?

A mixed result. The scale is undeniable and recalls grand fantasy battles from global cinema. Some viewers have praised it as a benchmark for Indian films. However, certain frames appear rushed, with crowd simulations and particle effects lacking refinement. These moments have triggered comparisons to video game visuals. There is clear ambition here, but it needs polishing.

4. Demon Designs and Mythical Creatures

The teaser introduces glimpses of demonic figures and otherworldly beings. The intent is to create menace without slipping into caricature.

Magic or Overkill?

This is where the criticism is strongest. While some creature designs show promise in texture and scale, others feel inconsistent. Several viewers have called them overly artificial or underdeveloped compared to global standards. Lighting and integration with live-action occasionally feel mismatched. These elements will likely need significant refinement before release.

5. Yash as Ravana: A Brief but Powerful Introduction

Yash’s appearance is limited but impactful. His presence is defined through shadow, posture, and controlled visual build-up rather than overt spectacle.

Magic or Overkill?

This works effectively. The restraint in presentation adds to the intrigue. Yash’s physicality blends well with the visual treatment, making this one of the teaser’s most promising moments. It sets up the central conflict without revealing too much.

6. World-Building and Environmental Design

The teaser offers sweeping glimpses of forests, architecture, and mythological elements such as aerial vehicles. The aim is to establish a fully realised ancient world.

Magic or Overkill?

The scale is impressive. The environments suggest an ambitious attempt to build a cinematic universe comparable to global fantasy franchises. However, some backgrounds feel overly processed, raising questions about consistency. The Rahman-Zimmer score adds grandeur for some viewers, while others feel it lacks a rooted, devotional quality.

The Bigger Picture

Producer Namit Malhotra has positioned Ramayana as more than just a film. It is envisioned as a global cultural project. The IMAX format, international VFX collaboration, and large-scale storytelling reflect this ambition.

Early international reactions indicate strong potential, with comparisons to The Lord of the Rings already emerging. At the same time, the divided response highlights the pressure the film carries. While Ranbir Kapoor’s performance and select visuals have been widely appreciated, concerns around certain VFX elements remain.

It is important to note that teaser visuals are often not final. With several months left before release, there is ample time for refinement. If the final product delivers on its promise, Ramayana could redefine mythological storytelling in Indian cinema. If not, it risks falling short of its own scale.

For now, the teaser presents a bold vision. It excites, it divides, and most importantly, it demands attention.

The real test will come in theatres.