Produced by Y. Naveen, Y. Ravi Shankar and C. V. Mohan for the company Mythri Movie Makers, the film stars Ram Charan and Samantha Ruth Prabhu with, Jagapathi Babu, Naresh, Prakash Raj, Aadhi Pinisetty, and Anasuya Bharadwaj in key supporting roles.

Sukumar started working on the film's script after completing Nannaku Prematho (2016), and collaborated with R. Rathnavelu, who served as the director of photography.

One of the first few Indian films to be entirely shot using Red Helium 8K cameras, Rangasthalam's principal photography began in April 2017 with the working title RC11 and lasted until March 2018.

Kumar Babu exposes the society's fraudulent deeds, gaining the villagers' support and persuading them to nominate themselves as ward members, including Kasi and his brothers.

Chittibabu deduces that his brother's dying word was "Srimannarayana" and races to meet Dakshina Murthy, witnessing him being hit by a truck and hospitalizing him.

Writer and filmmaker Sukumar discussed the possibility of directing a rural drama with his regular collaborator, cinematographer R. Rathnavelu before the production of the former's directorial 1: Nenokkadine (2014).

After completing Nannaku Prematho (2016), Sukumar narrated two story lines to Rathnavelu: a contemporary film with an Indian green revolution backdrop, and a rural drama.

[5] He felt more like a member of the direction team than being a cinematographer during the film's production: "You’ve to think like him [Sukumar] while working with him, and getting into the psychology of the characters helps a lot.

[6] Impressed with their work in Jyo Achyutananda (2016), Sukumar chose Ramakrishna and Mounika to handle both art direction and production design.

[5] In an interview with Firstpost, she said that everything about her role in the film was on a different tangent, and that she initially struggled to adjust with the rural environment, as she grew up in the urban areas of Chennai.

[20] To prepare for her role, she observed and spent some time with the women in the villages near Rajahmundry, and took inputs from Sukumar who wanted her portrayal of Ramalakshmi seem unrestrained.

[28] Rangasthalam was majorly filmed in a village set worth ₹50 million (US$580,000) erected in Hyderabad,[29] with only ten percent of the footage shot in real locations.

[30] Sukumar and Rathnavelu wanted to shoot the film in harsh sunlight, planning to complete by July 2017: "In April and May, the river appears dry and sand looks burnt.

[30] Due to lack of proper communication and facilities, the equipment and the crew traveled in boats to Rajahmundry everyday post wrapping the day's shoot.

[44] The item number "Jigelu Rani" featuring Pooja Hegde and choreographed by Jani Master was filmed in a set erected at a private studio in Hyderabad.

[5] Priyanka Sundar, writing for Hindustan Times, noted that the film focuses on the theme of good versus evil, by making the antagonist display signs of god complex.

[47] Film critic Baradwaj Rangan noted that Rangasthalam exists in the feudal realm of Shyam Benegal's Ankur (1974) and Nishant (1975), and Bapu's Mana Voori Pandavulu (1978).

[48] Sankeertana Varma, writing for Film Companion, called Rangasthalam an upgraded version of Mana Voori Pandavulu set in a "village where caste is everywhere".

[49] Film critic Karthik Keramalu noted that Rangasthalam explores the themes of caste-based honour killings and so called brahminical patriarchy through Dakshina Murthy's character, a soft-spoken politician.

[26][50][51] Sukumar added that he was also inspired from the ethics followed while implementing capital punishment, where the officials would wait until the person recovers from illness and is healthy.

[75] Rangasthalam opened to a 100% occupancy in some areas of India, including districts of Telangana and Andhra Pradesh, earning ₹43.8 crore (US$5.1 million) globally.

[76] The film benefited from the then ongoing strike in Tamil Nadu against digital service providers, and earned ₹1.01 crore (US$120,000) in its first weekend at Chennai.

[88] Baradwaj Rangan called Rangasthalam an "unusual masala movie" whose punch moments "arise organically from the screenplay" which aren't just "a shot or a line set up simply to get the pulse pounding at regular intervals".

[48] Subhash K. Jha, in his review for the Indo-Asian News Service, called Rangasthalam a film "from the heart" and wrote that it "plays itself out with a karmic velocity giving the main characters a chance to grow without revelling in their dazzle [sic]".

Jha praised the performances of Charan and Babu, in particular, adding that the former "remains almost flawlessly in character," which was "diffident and disarmingly disingenuous, valiant but not fearless".

[90] Neeshita Nyayapati of The Times of India called Charan's performance "stupendous"; she wrote, "Be it in the scenes where he oozes childishness or the ones when you see a broken man that no one can heal, you can see it all in the way his eyes emote.

"[91] Manoj Kumar R, reviewing for The Indian Express, called Rangasthalam a "well-crafted canvas" which was made with "honesty and high regard for the audience".

"[93] Murali Krishna CH of The New Indian Express too praised the climax, stating that Sukumar "weaves his magic wand" towards the end with an "interesting" twist.

Reviewing the film for The News Minute, he wrote, "Rangasthalam gives you likable characters in a screenplay that aims to touch dizzying heights without packing enough fuel.

[47] Sify, in its review, noted that the film holds the viewers' attention till the end despite the lengthy runtime and slow pace.