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Sujith Francis 44 days ago

Mustafa and Hridu and team deliver a watchable performance...with acting par excellence by all the boys. Kani shines in her natural portrayal of a character we feel we know.<br/>The turn of the movie from a casual entertainer to a serious, wounding real life like episode and rising like a crescendo into an unbridled frenzy showcased some great acting by Hridu and good direction.<br/>The movie leaves you with a haunting feeling of wanting more ...not of the violence but to see more of the life of the characters in the movie.<br/>A heart winner for sure. And a star maker.

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Ullozhukku Review: An Astounding Urvashi Headlines A Tender Film On Love That Defies Conventions

Writer and Director: Christo Tomy

Cast: Parvathy Thiruvothu , Urvashi , Arjun Radhakrishnan

Available in: Theatres

Duration: 123 minutes

The first few events in Ullozhukku (Under Current), directed by Christo Tomy, happen in quick succession. Life falls through Anju’s (Parvathy) fingers before she can chart a plan. From a wide-eyed sales girl at a textile shop furtively smiling at her lover, she transforms into a bride posing for awkward post-wedding pictures on a backwater boat, her eyes heavy from what was likely a teary night. The film then moves to the old, spacious house of her husband, Thomas Kutty (Prasanth Murali), and his doting mother, Leelamma (Urvashi), in Kuttanad, where time, like a boat engine whirring to a halt at the dock, comes to a pressing stillness.

Christo has a talent for amplifying the ticking of the clock. The film is most eloquent when the characters wait in silence or stumble through halting conversations, managing to express just a fraction of what they would like to say. Meanings slither out of the gaps. 

It isn’t just the passage of time that seems to possess a consciousness in this subdued drama. The house, perched by a backwater lake that threatens to flood, exerts a breathing, domineering presence, tenderly shot by cinematographer Shehnad Jalal . Most of the drama unfolds within its walls, quietly, in the secrecy of bedrooms or the dimly lit kitchen. The interiors are primly arranged even in the face of the unfolding tension. The island appears eerily remote, cut off from humanity by a labyrinth of green water bodies constantly refilled by monsoon rains. Melancholy and a sense of foreboding freely flow from this setting, deepening the grief and crisis the characters are going through.

Soon after the wedding, Thomas Kutty falls terribly ill, and Anju is forced to assume the role of a caregiver. Leelamma, the grieving mother, treats her with great love and kindness but remains oblivious to the palpable unhappiness that has settled on her. The narrative proceeds linearly, carrying the audience along the trajectory of Anju’s marital life. When she reestablishes contact with her lover, Rajeev (Arjun Radhakrishnan, voiced by Roshan Mathew), a young man who drifts from one odd job and promise to another, a storm begins to brew on the horizon, eventually erupting on the day Thomas Kutty dies, with his funeral delayed by a deluge.

Ullozhukku is Christo’s third fiction film, following two award-winning shorts, Kanyaka (Virgin) in 2015 and Kamuki (Sweetheart) in 2016, which he made as a film student in Kolkata. The themes of caregiving, desire, and unplanned pregnancy that he explored in the shorts recur in the feature film. Incidentally, in Kanyaka , he used Urvashi, the film star, as a motif of worldliness that the protagonist — a young nun doubling as a caregiver for her senior — struggles to resist. His films also share a similar formal quality— nothing in the frames looks out of place or wildly spontaneous. Scenes unfold with great restraint, capturing the central characters in shallow focus.

Ullozhukku focuses on how the two protagonists – Anju, who is desperate to leave, and Leelamma, grappling with grief as she tries to make sense of everything – respond to the engulfing crisis. The incidents of funeral and pregnancy, along with the men associated with them, exist on the sidelines, while the film trains its eyes on the women, whose interactions throughout the film feel like a single conversation fragmented into little parts. Anju’s unborn baby is initially assumed to be Thomas Kutty’s, briefly bringing joy to Leelamma, who deliriously begins to prepare for the child’s arrival. When it dawns on the young woman that what she truly wants isn’t unscathed honour but freedom, she reveals her decision to leave to her mother-in-law, implying the existence of a lover. 

Ullozhukku breaks down the crisis into bite-sized pieces, finding a heart in each bit. Despite their differences, Leelamma and Anju share a deep sense of orphanhood — they are women who grew up elsewhere and were brought into this house through marriages that imposed thankless caregiving duties upon them. They are immigrants planted into a new country. It must be this tacit sisterhood that prompts Leelamma to reprimand her own daughter when she accuses Anju of betrayal. In one of the film’s rare instances featuring a crowd, Leelamma sits by the freezer bearing the corpse, as a group of young women and nuns sing hymns behind her. She hesitates before glancing at Anju, and in what feels like a tight embrace, she reaches out and pulls her close. A moment so delicately heavy. 

The film largely excludes the community — extended family, villagers, or the church, the typical crowd that gathers at a funeral site — eliminating all ambient noise. The flipside to this storytelling is that it makes the narrative feel monotonous, circling back on itself. This becomes apparent around the midway point when the film seems to lose its natural rhythm. If one is familiar with the recent trends in Malayalam cinema, the events of the final hour might feel like too simplistic a twist — the reckless good-for-nothing turns out to have a poor moral conscience.

But it all builds to a final shot that hits hard and deep, scarring and heartwarming all at once.

And at the centre of the film is one towering performance. One might assume playing a grieving mother is straightforward — wait until you see what Urvashi does with the role, painting it in colours you might barely recognise, crafting an intricate and deeply personal portrait of motherhood. Parvathy, her co-actor, is immensely competent, but the cracks in her voice acting are discernible. Urvashi, on the other hand, is a quiet rage throughout the film, stirring the frame even when she is sitting still and staring at the abyss that has opened up in her being. Everything she does – pauses, changes in her voice, the delicate movement of her eyebrows, or the pace of her steps – leaves a trail of meaning; a rare and rich performance worth close study. 

It is tricky to predict how Ullozhukku will perform at the box office. This isn’t a film meant to impress a crowd fed on mainstream adrenaline-pumpers, although there’s no telling what the film’s strengths might do to any viewer. In the end, Anju chooses a freedom that is inner and muted over one that is more apparent, vibrant, and material. Regardless of what this choice entails or promises, the film’s championing of tenderness and empathy until the very end, in its gentle and unhurried language, is deeply rewarding. 

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Aattam review: A magnificent film that brilliantly explores male hypocrisy

There's no simple way to describe anand ekarshi's aattam. it is both a play and a movie. it is also a play within a play within a movie. it is also a courtroom drama, albeit sans a courtroom. however, above all, aattam stands out as one of the most brilliant malayalam movies in recent times..

Just when you believe you’ve unravelled a character in this film and understood their true nature, they utter something incredibly banal or logical, completely shattering your perceptions of them. It’s only after a certain point that we realise they are like us and we are like them — taking stances and forming opinions based on convenience and how much of ours is at stake.

There’s no simple way to describe Anand Ekarshi’s debut feature Aattam (The Play), which was recently screened at the 28th International Film Festival of Kerala (IFFK). At its core, the film revolves around a woman who faces sexual assault in a space she had considered safe. Simultaneously, it is about a group of men who come together to ‘discuss’ or ‘investigate’ the matter. At the same time, it is also about the insensitivity with which a patriarchal society responds to such cases. The film also exposes male hypocrisy and how men, ultimately, wield influence even in matters they lack understanding of. It also highlights the issue of men not knowing when to shut up and the denial of opportunities for women to speak. Aattam, simultaneously, shows how the burden consistently falls on women to prove the authenticity of their experiences, whereas men often receive a free pass without needing any explanations. Aattam is both a play and a movie, like KG George’s all-time classic Yavanika (1982). It is also a play within a play within a movie. The film can be likened to a courtroom drama too, albeit sans a courtroom. However, above all, it stands out as one of the most brilliant Malayalam movies in recent times.

Anjali (Zarin Shihab) is the sole female member of a drama troupe called Arangu, which consists of 12 male actors, in addition to the director. The film begins by depicting their preparations for staging a play. Anjali assumes the central female role, while Hari (Kalabhavan Shajohn) takes on the male lead and Vinay (Vinay Forrt) plays a significant role in the cast. Following the play’s conclusion, two of Hari’s non-Indian friends visit backstage to congratulate them and extend an invitation for a stay at their resort in Kochi.

The team accepts the invitation and enjoys the night together. However, after the party, at midnight, Anjali, who is sleeping on a diwan cot by an open window, is groped, leaving her traumatised. A few days later, she confides in Vinay, her romantic partner, about the incident and says that Hari did it. Vinay escalates the matter, though Anjali does not want anything to be done about it and just wanted to erase it from her memories, and brings it to the attention of team leader Madhan who urgently calls for a team meeting of all male actors, excluding Hari. They convene at Madhan’s house to discuss the issue and seek an ‘amicable solution’.

The remainder of the film follows their discussions, arguments and the unravelling of their true selves as tensions rise, especially when personal matters come into play.

The film’s greatest strength lies in its intricately crafted screenplay, deftly transforming a sexual assault into a play, a discussion topic and even a case to be investigated, all without diminishing the gravity of the incident or the fact that it was a crime. Early on, the film employs sharp scenes to effectively explore and reveal the characters, their traits, nature and socio-economic backgrounds through dialogues, actions, attire and even subtle glances, laying the groundwork for the unfolding narrative.

As the actors ‘enter the stage’ for the ‘discussion’ play and gather around a roundtable, reminiscent of Sidney Lumet’s 12 Angry Men (1957), the film takes on the tone of a courtroom drama, with arguments and counterarguments presented by parties with little to no knowledge of the situation. Apart from seamlessly allowing the narrative progress in a gradual real-time pace, in contrast to a play or even a movie, Aattam continually provides new masks and attire to each actor as well, while also disrobing and exposing them in tandem. At the same time, the meticulous precision in the writing of each dialogue enhances the depth of the film. Even with its real-time progression, Aattam maintains its essence as a play, divided into acts, allowing us to witness actors entering and exiting each setting or, at times, the stage itself.

Writer-director Anand Ekarshi adeptly exposes the blatant misogyny, sexism, hypocrisy, ego, envy, lust, selfishness, pseudo-righteousness and more from all the characters evenly, leaving no one untouched. It also ensures that Hari’s presence and command are felt throughout, even when he is absent on-screen. Special commendation is deserved for the emphasis placed on the hypocrisies of the holier-than-thou teacher and former newspaper editor, as people often mistake such superficial persons for good ones.

While Aattam delves into the flaws of these men, it consistently keeps Anjali in focus. The film avoids attempting to victim-blame her in any manner, even when almost all characters utter such dialogues and eventually become rape apologists towards the end for personal gains. The film provides Anjali proper agency and never casts doubt on her for even a single moment, which is indeed laudable for a mainstream Malayalam film.

While every actor, nearly all with theatre backgrounds, delivers spectacular performances, Zarin Shihab stands out with her flawless portrayal, skillfully navigating and effectively expressing all the emotions of Anjali. Vinay Forrt and Kalabhavan Shajohn also excel in their respective roles.

Anand Ekarshi’s adept framing of each shot and the strategic use of various shots, especially close-ups that evoke a sense of necessary suffocation, align with the tone and mood of the respective moments, making the film a true gem. Thanks to his decision to conduct a 35-day workshop before filming, every shot in the film appears nearly perfect, with absolutely no flaws. Cinematographer Anurudh Aneesh and Anees Nadodi’s art direction also warrant special praise for the overall brilliance of the film. Mahesh Bhuvanend’s masterful editing contributes to the seamless flow of the movie. Basil CJ’s music, though filling the screen only when required, effectively enhances instances that demand it.

Aattam movie cast: Vinay Forrt, Zarin Shihab, Kalabhavan Shajohn Aattam movie director: Anand Ekarshi Aattam movie rating: 4 stars

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Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at [email protected]. ... Read More

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