This year saw a bunch of interesting films and shows from filmmakers both new and seasoned. We witnessed the debut of several first-time filmmakers and actors, all with their unique gifts. Armed with a wealth of experience in other technical areas, some proved their remarkable potential for direction through their nuanced and skilful approach to the material. Meanwhile, some actors brought out different, unexplored sides of themselves, while others offered a fresh take on their familiar, popular roles. The yearly roundup:
Ponman (JioHotstar)
Written by GR Indugopan and Justin Mathew, Ponman marked the directorial debut of production designer Jothish Shankar, who has worked in films such as Kumbalangi Nights, Bramayugam, and Android Kunjappan. The film proved that all the knowledge and expertise Jothish gained working with some of contemporary Malayalam cinema's most sensible and game-changing filmmakers eventually worked in his favour. It's one of those rare films where not even one second is dull or boredom-inducing. Every character has a purpose, a clear reason for doing what they do, and their share of vulnerabilities. Everyone is answerable to someone. Full review here
Rekhachithram (SonyLIV)
This Asif Ali-starrer appeals to the hardcore film lovers in all of us, and, in doing so, gets you to admire the inventiveness with which director Jofin T Chacko weaves together all the pieces of the puzzle into a simple, coherent investigation story. It gets you strongly invested in the victim's story because, after all, you're looking at the story of someone who is a cinephile just like you. You want to find out what happened to her. You want to find out how she fell in love with movies. And you want Asif Ali's efficient cop to apprehend the culprits. Full review here
Ronth (JioHotstar)
One of Shahi's strong qualities as a writer and filmmaker is his design of the dynamic between different characters, in this case, a senior cop, Yohannan, played by Dileesh Pothan, and a younger cop, Dinanath (Roshan Mathew). These two men make an unlikely pair — you could even assume it's a toxic working relationship — but you also know they'll have each other's backs when the situation demands it, a belief that gets tested in the third act. The film suggests that these are human beings just like us, with all inherent shortcomings, and if we were placed in the same circumstances, we might have done the same thing. Ronth boasts the career-best performances of Dileesh and Roshan. Full review here
Thudarum (JioHotstar)
With Tharun Moorthy's Thudarum, we went in expecting a certain kind of film, only to realise later that the filmmaker behind Operation Java and Saudi Vellakka had other plans. Thudarum was marketed as a feel-good family drama, but the film took everyone by surprise, in a good way. It was made to please Mohanlal fans, and it delivered in spades. It more than made up for the disappointment caused by L2: Empuraan. And, of course, there was noted ad filmmaker Prakash Varma's scene-stealing performance as 'George sir'. Full review here
Kerala Crime Files: Season 2 (JioHotstar)
This show demands your complete, undivided attention. Writer Bahul Ramesh ("Kishkindha Kaandam") conjures up multiple plot strands so cleverly and economically that even missing a piece of dialogue, a glimpse, or any other little detail might meddle with your grasp of how everything ties together. Bahul's writing invites comparisons to Christopher Nolan's in terms of not steering clear of spoonfeeding the audience and trusting them to figure everything out without relying on constant exposition. It would be wise to do what Aju Varghese, who reprises his character from the first season, says during a crucial point: "Focus, focus..." Full review here
Padakkalam (JioHotstar)
A mind-bending body-swapping fantasy comedy that draws judiciously from comic books and pop culture, Padakkalam is bolstered by its charming array of actors of two different age groups. Not all of its jokes land, but when some do, they bring the house down. Manu Swaraj's directorial debut creates the effect of watching a group of friends playing a fun game, only here, it becomes a race against time to... get back to one's original bodies before the proverbial s*** hits the fan.
Ouseppinte Osiyathu (Prime Video)
Featuring exceptional performances from National award winner Vijayaraghavan ("Pookkaalam", "Kishkindha Kaandam"), Dileesh Pothan ("Ronth", "Rifle Club") and Kalabhavan Shajohn ("Aattam", "Drishyam"), the film revolves around the stifling circumstances in an affluent but dysfunctional patriarchal household in the wake of an unexpected crime. While not perfect, it's bolstered by convincingly evocative and layered performances from Pothan (as a man burdened by too many things) and Shajohn (who plays a different kind of 'George sir'). Kani Kusruti is cast against type as a discerning cop investigating the case.
Moonwalk (JioHotstar)
Do you know how to 'wave', bro? Debutant Vinod AK's film is another example of a coming-of-age drama that stands out with its fresh narrative approach, travelling back to that time of electrifying synth and funk tracks, break dance, Michael Jackson — the time when music used to be fresh and original and not something repetitive and template-based like today. It's a tale where music becomes an act of rebellion, the stage a catalyst for transformation. Oh, and it takes you back to those days when playing a VHS tape correctly posed its own challenges.
Alappuzha Gymkhana (SonyLIV)
Alappuzha Gymkhana evokes the vibe — yes, this is very much a 'vibe movie' — of a Pixar film, or one of those Into the Spider-Verse films. Khalid has made a film you would normally associate with a filmmaker like Richard Linklater. The kind of film that's built around interesting faces, characters, and conversations. The two Linklater films that immediately sprang to mind while watching the amusing camaraderie of these characters are Dazed and Confused and its spiritual sequel, Everybody Wants Some! The very thought of a Malayali filmmaker finally doing this (can we add Girish AD to the list, too?) brings joy. Full review here
Officer on Duty (Netflix)
The directors of all three films written by Shahi Kabir have their own style and intentions, which can be said of the director of Officer on Duty, too. Jithu Ashraf's approach leans more towards the commercial side. The fight sequences work so well because the bad guys (and gals) are built up as such deplorable figures that, irrespective of the usual cliches associated with drug-snorting villains, we have nothing but contempt for every single one of them. And after one hell of an intense, surprise-laden roller coaster ride, the necessary catharsis is delivered. Sure, it's not flawless — some scenes make one question their logic — but it didn't matter, because it was so satisfying to see the trauma-driven antihero delivering the necessary catharsis. Full review here
Thalavara (Prime Video)
Arjun Ashokan delivers a career-best performance, anchoring a fresh, contemporary take on "Beauty and the Beast": an unconventional hero's journey — or, rather, the unconventional journey to becoming a hero who defies conventions. It's a film that pulsates with a genuine heart. It has a set of actors who keep things simple. And in this age of failed 'pan-Indian' big-budget masala entertainers that try to compensate for their lack of a soul with star appearances, a film like Thalavara comes along like a breath of fresh air. Full review here
The Chronicles of the 4.5 Gang (SonyLIV)
Malayalam cinema's equivalent of a Gangs of Wasseypur, Vada Chennai, or City of God featuring some of the best talents in the independent film scene. Written and directed by Krishand, it's a story that spans decades, plays around with the timeline in inventive ways, and reveals unexpected developments that offer fresh perspectives on several events. It doesn't give all the answers, but it has enough layers and finesse in its technical departments to warrant multiple revisits. Bring on Season 2, please. Full review here
Avihitham (JioHotstar)
It’s yet another case of taking the smallest idea and doing fabulous things with it, something Malayalam cinema has been praised for doing for a while. When everyone else is trying hard to find excitement in the big ideas, Avihitham, from filmmaker Senna Hegde, finds it in the simplest things, like someone discovering that two neighbours are having an affair. The cast is filled with faces both familiar and otherwise, actors with convincing dynamics, which works greatly in the film’s favour. It features a host of key players blessed with natural acting abilities who effortlessly slip into their roles. Full review here
Dies Irae (JioHotstar)
With Dies Irae, filmmaker Rahul Sadasivan ("Bhoothakalam", "Bramayugam") once again proves the maxim that you can create maximum scares with a minimalist and formalist approach. There is an excellent attempt at misdirection in the film's early portions. Just when you think you're watching something familiar, the rug (or bedsheet) is pulled from under you. In terms of the measure of dread it evokes, it comes closer to veritable excursions in the genre from contemporary Korean cinema such as The Wailing and Exhuma. Full review here
Ithiri Neram
A filmmaker usually known for film festival-friendly films, Prasanth Vijay steps into the midstream space with a film that’s accessible to everyone, not just the ones who like to boast about “getting” experimental films while sipping wine at parties. The very fact that Roshan Mathew and Zarin Shihab are the lead actors in this should be sufficient to those who believe in serious, unadulterated cinema led by serious, unadulterated performers who behave like real people with genuine feelings. Ithiri Neram combines the sensibilities of two generations of Malayalam cinema, resulting in a profoundly moving outcome. Full review here
Eko
Made by the writer-director duo behind Kishkindha Kaandam, Eko jumps between different eras and multiple perspectives, drawing an intriguing, near-mystical picture of legends whose dubious escapades span decades, with far-reaching ramifications. It gives the storytelling a Latin American flair. Eko demonstrates that when the individuals themselves suggest many colourful backstories, one doesn't need to look to lofty spectacle to embellish them. The performances are exceptional across the board. This is economical storytelling at its best — a two-hour film with the weight of a three-hour film, supremely confident about telling its story without taking an extra hour. Full review here
Victoria
Running a little under 90 minutes, Victoria is a ‘day in the life’ episode, mostly set inside the confines of a beauty parlour run by a woman who likes to make Instagram reels. The place, we later see, becomes a venue for a "group therapy" session for its titular character and the women, of varying age groups, who go there for different procedures. Led by an exceptional lead performance from Meenakshi Jayan, the film doesn't run in real-time, but the time jumps are rarely felt; it condenses several hours of activity in a way that makes it seem like everything is happening in the aforementioned duration. Full review here
Kalamkaval
Mammootty's incredible chameleonic abilities are once again put to great use in a thriller that takes many interesting detours along the way. Directed by Jithin K. Jose, Kalamkaval marks the arrival of another promising filmmaker. playing a man who is bad to women, for various twisted reasons, is not fresh territory for him, from films like Kariyila Kaattu Pole to the most recent Rorschach. But the beauty of Kalamkaval and, in turn, Mammootty, is that it can make you feel like the man is playing an evil man for the first time. I always say that some of the greatest performances are those that make you feel possessed by not the actor playing the character, but the character itself. Full review here
Pharma (JioHotstar)
The eight-episode medical whistleblower drama, directed by PR Arun, follows the complex moral journey of a medical representative through a fairly compelling non-linear narrative. As a morally grey character overpowered, once he has found success, by the hard-hitting realisation that he chose the wrong profession — or, rather, the wrong side of the same profession — Nivin conveys the inner turmoil with a basic measure of sincerity that it demands. It helps that the series features some of the adept actors in the industry, such as Shruti Ramachandran, Rajit Kapur, and Narain. Out of these, it's the Nivin-Shruti dynamic that stands out the most. Full review here
Sarvam Maya
The Akhil Sathyan directorial is loaded with feel-good vibes. It's not for someone seeking a dark and gritty movie where the protagonist grapples with the effects of a major traumatic event or conflict. Yes, the protagonist (Nivin Pauly) has experienced a painful past event, but it’s not the extremely heavy sort. If you go in expecting the kind of cinema made by the same man who made Paachuvum Athbudha Vilakkum (starring Fahadh Faasil), you are most likely to come away feeling pleased. Full review here