#ullozhukku

January 5, 2025

by Inakshi Chandra-Mohanty

1. Bramayugam

A low-caste singer escaping persecution stumbles upon a desolate mansion containing mysterious secrets in this vintage horror drama. Shot entirely in black and white, to reflect the centuries old period and amplify the light/dark disparities, Bramayugam is a masterpiece in cinematic expression. Visual storytelling is at the heart of this film. The meticulous frames, brooding background score, and a menacing performance by Mammootty, build an ominous atmosphere. Like writer-director Rahul Sadasivan's previous supernatural thriller, Bhoothakalam, this film doesn’t rely on cliched horror elements and instead operates in a slow burn fashion, the dread, the terror gradually growing until we find ourselves trapped in the home’s existence.

But the horror in the film isn’t just the fear of the mystical elements that haunt this ancient home. It’s the horror of human evils, such as greed for power and caste/class discrimination. A mythical beast and frequent jump scares cannot combat the fear of an aristocratic lord with disdain for those below him. And it is in this blend of imaginary horror with real atrocities that Bramayugam scores.

2. Aattam

12 angry men…and a woman. This is an apt tagline for the acclaimed Malayalam psychological drama, Aattam, winner of best feature film at the 70th National Film Awards. In an amateur jury deliberation setup, a nod to the acclaimed Hollywood courtroom drama, the members of a theatre group convene in a debate after their sole actress is molested by one of the twelve men. The congregation comprises of a variety of different personalities from the un-believers to those seemingly concerned to the image prioritizing individuals. But one thing is common. All downplay the serious nature of the act and none of them are as they seem.

The film is both a whodunnit and a thought-provoking commentary. It builds suspense through slow reveals about each character as the day progresses, but also subtly portrays society’s ingrained patriarchy. It’s a perfect counter to those parading the tag of ‘Not All Men’. Most of these men aren’t openly misogynistic or dismissive, but their support is conditional. We see how perspectives shift and accusations amount in this stark representation of the hypocrisy of men that ultimately leaves women ally-less.

3. Ullozhukku

The saas-bahu relationship is one of the most negatively stereotyped in Indian media. Hence, it is always refreshing to see content that delves deeper into the fractured foundation of this bond, showing how deep-rooted patriarchal notions create complexities between women living in the same household. In Ullozhukku, Leelamma and Anju, mother-in-law and daughter-in-law, are forced to confront secrets that question the basis of their relationship as they attempt to bury a loved one amidst raging floods in Kerela. The title translating to ‘undercurrent’, represents both the watery atmosphere and the underlying feelings they are unable to express openly.

Relying heavily on powerhouse performances by Urvashi and Parvathy, writer-director Christo Tomy presents a poignant character study of two women stuck in a limbo between convention and rebellion. Through meticulous frames and nuanced conversation, he makes us privy to the pent up frustration and sadness within each woman that leisurely surfaces due to the external pressure of unfortunate circumstances. The release of these emotions translates into a journey towards freedom. Freedom from the roles they inhabit, freedom from society’s expectations, and freedom from the forced ties between them. As the facades lower, and communication increases, they develop a newfound bond of empathy, love, trust, and respect. Female characters are so rarely portrayed in such a layered fashion on screen. That combined with the unconventional take on a constantly cliched relationship, makes Ullozhukku one of the most impactful films to release this year.

4. Kishkindha Kaandam

A missing gun, a missing child, a newlywed couple, and a befuddled father-in-law, interlink in Kishkindha Kaandam, a mysterious psychological drama. Written by Bahul Ramesh and directed by Dinjith Ayyathan, this thoughtful, haunting exploration of guilt follows shifting family dynamics and uncomfortable revelations when an outsider enters an isolated household situated in the middle of a monkey-inhabited forest reserve area. Appu Pillai, Ajayan, and Aparna, the three central characters of this tale, represent the three wise monkeys, seeing and unseeing, hearing and unhearing, speaking and unspeaking, as troubling secrets pour out.

The film’s greatest strength is its genre bending capabilities. Within a thrilling atmosphere, it offers a heartwarming family drama. While the suspense and plot twists are exciting, it is the emotional depth of each character that creates an indelible mark. Our ability to empathize with these flawed human beings on many different levels is vital to the impact of the story’s reveals and leaves us with a wistful feeling long after. That’s why, the lesser you know going in the better. The characters are built so well that even a hint of their past or future actions will ruin the experience. I went into Kishkindha Kaandam blind and so should you.

5. Aavesham

When I saw ‘re-introducing Fahadh Faasil’ in the opening credits of Aavesham alongside all the new actor intros, I wondered how a seasoned, critically acclaimed actor like him could do anything remarkably different. But, by the end of the film, it became clear why the tag was there. And that tag is the sole reason that this film is amongst the best of the year. In this quirky action comedy, three students befriend a gangster to get revenge on their violent college seniors. The gangster, Ranga, brought to life by Fahadh Faasil, is an eccentric, invigorating character, that carries the entire film on his shoulders.

In this positive, entertaining ride, personality rules over story. The thin narrative has little depth to offer, but the exuberant characters and their gripping interactions overshadow the flaws. The trio of Aju, Bibi, and Shanthan are delightful to watch as they pursue their mission with a mixture of laughter, fear, and false bravado. But it is Ranga, with his silly antics, energetic aura, and memorable catchphrase ‘eda mone’, that becomes the life of the film. With an intricately woven backstory that seems more fiction than reality when his aids recount it, and his constant mood switches between friendly human and menacing gangster, Ranga is an intriguing individual. Aavesham shows that a strong plot is not always necessary to make a good movie. Sometimes it’s just the fun of watching unusual characters and their wacky histrionics. And in this case, it is Fahadh Faasil’s show from start to finish.

6. Paradise

One of the most important films to come out of the Malayalam industry this year is the politically charged, Paradise. With the 2022 Sri Lankan socio-economic crisis serving as a backdrop, the story follows a tourist couple, Kesav and Amritha, whose romantic getaway is cut short after an unexpected event escalates tensions between locals and the police. Written and directed by acclaimed Sri Lankan filmmaker/activist, Prasanna Vithanage, known for his issue-based cinema, the film authentically recreates the troubled environment and emotions engulfing the Sri Lankan citizens at that time, the local spirit adeptly represented through the trio of Mr. Andrew, Shree, and Iqbal, the couple’s hosts.

கீதா இளங்கோவன் சென்ற வாரம் பார்த்த ‘உள்ளொழுக்கு’ (Undercurrent) மலையாளத் திரைப்படம் உலுக்கி எடுத்து விட்டது. இதுவரை திரையில் சொல்லப்படாத கதைக்கரு. தனது ஜாதியையும், மதத்தையும் கட்டி காப்பதற்காக, தனது பரம்பரைக்கு வாரிசு வேண்டும் என்பதற்காக குடும்பம் என்கிற அமைப்பு எத்தனை பொய்களைச் சொல்லி பெண்ணை ஏமாற்றுகிறது. அவள் விருப்பத்தை நசுக்கி, வாழ்க்கையைச் சுரண்டுகிறது.‌ இவை அத்தனையும் ‘அவள்…