nairtejas Reviews

Narayaneente Moonnaanmakkal (2024)

Warm

[7/10 · 14 May 2025]

There is no plot in Narayaneente Moonnaanmakkal (The Three Sons of Narayani). Instead, it's a narration of a few days in the lives of the three sons as they get together at the wake of their mother's imminent death, not without the ghosts of their private and shared pasts. I had a peculiar (in a good way) feeling watching Narayaneente Moonnaanmakkal, with its mellow, meandering pace, performances that make it look like they're living it, and subtle music. It hit home with me because I've seen such family get-togethers get heated up personally, so it was a terrific watch. Save for one major story arc that seemed unwarranted, this film was worth it.

I Am Kathalan (2024)

Good Fun

[7/10 · 4 May 2025]

I Am Kathalan (I Am Lover) is a cool film to spend an afternoon on. Naslen assumes the titular role as he gets on with his cyber shenanigans to get back at a person who wronged him. This is a typical anti-hero film where you'll naturally root for the guy but it's the small pockets of humour and believable tech happenings that elevate the film into an enjoyable watch. Naslen is in his calm demeanour here (as last seen in Premalu) but I also like the other actors who put up a good show. Dileesh Pothan is as good as he gets but I'm starting to feel Anishma Anilkumar plays the same role in every film.

Mrs (2023)

Elegant

[7/10 · 23 April 2025]

For a socio-political story, Mrs looks elegant. I like such films that look like finessed, polished work, yet are powerful in their storytelling. So when the makers showed me the situation of the film's central character, I was able to both relate to it and know that it's probably exaggerated. Of course, what it depicts definitely happens inside four walls of many Indian households but what I mean with exaggeration is how the plot goes on a spiralling mode in the second half without paying attention to anything, almost making the characters wooden, just top make its point. Despite the black-and-white characters, I dig what the makers did here, especially with how they directed Sanya Malhotra. Good one.

How to Make Millions Before Grandma Dies (2024)

Heavy

[7/10 · 25 March 2025]

I chose to watch How to Make Millions Before Grandma Dies because a local newspaper suggested it to be a comedy film. I was not prepared for the heavy blow it dealt me as I saw myself breathing fast and high as the film progressed, narrating a tale of a super senior woman and her grandson, with the latter looking to inherit a large sum of money. The comedy evaporated soon and in its place, the film's drama bore down heavy on me. The film almost plays like a crescendo, giving us nuggets of golden dialogues that I'm going to remember for a long time. This is a good film and I'll warn you to get enough tissues before you start.

Madanolsavam (2023)

Quirky

[7/10 · 27 January 2025]

Madanolsavam (Odyssey) is a quirky little family drama centered around a naivete. He's an average Joe and lives with his aunt. Things take a turn and change his life forever when he gets embroiled in a conspiracy unbeknownst to his knowledge. There are shoots of humour in the film that has characters eerily familiar to us in Kerala, yet with fresh writing that has become the backbone of Malayalam cinema in recent years. Suraj V is phenomenal as the central character but I was more amused by Babu Anthony's role here, which has a similarity with a real-life person prominent in Kerala. Although the film meanders in the middle, it manages to hit the right spot at the end. A good watch.

Rekhachithram (2025)

Nostalgic

[8/10 · 27 January 2025]

Rekhachithram (Sketch) is a commendable effort in invoking nostalgia, which it does using a fashion that cannot exactly be called a trope. The film follows the investigation of a crime committed several years ago and quickly manages to involve the audience in the hunt. While the audience is a mere spectator, they're bound to enjoy the procedural, with past movie references and CGI-improved footage that makes for visual glory in the film. The smoothness in which the film flows and the novelty of the plot are what made me lose my breath as I watched the story unfold. I kept thinking about the characters long after I left the theatre and that's enough evidence for me to call this a fantastic film. The forced English dialogues are my only gripe.

ED: Extra Decent (2024)

Surprise

[7/10 · 10 January 2025]

ED: Extra Decent took me by surprise as I saw shades of rare black humour in a Malayalam film. The titular moniker is for Suraj Venjaramoodu's character where he dons the hat of the "most dysfunctional" in his small dysfunction family. The attempt at comedy is mostly tired but ED still manages to make you laugh here and there. But what definitely grabs your attention is Suraj's performance as the eccentric and weird grown-up who has scores to settle. I had a ball watching this with my family as we could ask each other if we would ever do something like what the characters in the film do to each other. A good watch!

1917 (2019)

Spurts of Extraordinary

[8/10 · 29 December 2024]

1917 is a technical achievement, showing us the horrors of World War 1 in first person. Two soldiers are sent to deliver a message to a faction in an attempt to control a sabotage from the Germans, and through that journey, Sam Mendes and his team show what it was like for the people who fought the war. With so many war films out there, 1917 manages to show something new, something heartbreaking, and that has to be lauded. The technical superlatives - those in the camera and sound departments - then are just add-ons. Go, watch it in the biggest screen and the best sound system possible. An almost masterpiece.

Bobby (1973)

Problematic Classic

[7/10 · 18 December 2024]

With 8 songs running for nearly an hour, Bobby definitely feels long when watching in 2024. A 16-year-old canoodling with a 19-year-old is also a thorn that sticks out of this hugely entertaining drama that has every reason to be called a classic. I am fascinated by Dimple Kapadia's performance here more than anyone else's as it's evident that she put her best into it, whether it's her dialogues or her dancing. Rishi Kapoor looks nervous in the initial sequences but he manages to match Kapadia's energy, and together they succeed in creating a film that's a love letter to today's lovebirds. Was heartening to see Aruna Irani and Farida Jalal as youngsters. A definitely great watch 50 years later.

The Wild Robot (2024)

Full Package

[8/10 · 1 November 2024]

The Wild Robot entered my watchlist out of nowhere and stunned me like no animation film has done since Inside Out 1. It is immediately likeable, with a robot crash-landing in a forested island and upon activation looks for its first task from a human. Only there is no one around. It's a story that weaves itself into one about a mother-child bond and I could so much relate to it with my experience as a son to a loving mother. What took me by surprise was the dystopian feel of the film in the latter parts which I did not see coming. A wildly engaging and heartful film that must be enjoyed on the big screen with the whole family.

Pazhanjan Pranayam (2023)

Simple

[6/10 · 30 October 2024]

Pazhanjan Pranayam (Old-School Romance) took me by surprise as obscure Malayalam films rarely do. This is a simple story of a middle-aged bachelor living with his ailing father. He's been on the lookout for a bride since his 20s but has been unsuccessful, and that is when he hires a woman as a full-time maid. Pazhanjan Pranayam excels in storytelling above else, and although most of the proceedings are predictable here, there's a certain charm to the characters. Romy David went a bit overboard here but I liked him. It seems cheesy and at least one sequence is a bit over-the-top but overall the film manages to put a smile on your face. It did for me.

Good One (2024)

Cosy

[7/10 · 27 October 2024]

Before writing this, I checked my calendar and half-planned a trip to a nearby bird sanctuary on the upcoming weekend. That is the effect Good One had on me, although the makers had different plans with the way the film moves from being about a trio nature-hiking to one about relationship dynamics. The shift is sudden and it's only then you realise that the writer had subtly hinted it before. You'd be lying if you say you were seeing it coming. All the cosiness the film had created till then goes away but you still stare into the nature and wonder about things. Good One has a good effect on you and I recommend it. Lead actor is terrific and so are the other two actors. Together, they have renewed my hiking plans.

Anora (2024)

Ball (MAMI MFF 2024 #16)

[8/10 · 27 October 2024]

I had a ball watching Anora, a massively funny film with overshoots of gender and profession biases, that I almost ignored the point that Sean Baker was trying to make. Ani decides to marry Ivan, son of an oligarch, after spending a few days with him as an escort. As expected, things take an ugly turn but Sean Baker manages to narrate all of it in a manner that induces laughter so frequently you almost wonder if the Russians aren't that bad. There's also tension in the film that struggles to crescendo and that's where Baker blends his messages not making them too obvious. The entire cast is phenomenal here so I won't just give props to Mikey Madison who just seems to have a lot more screen space. A very funny and sad film at the same time.

(Watched at its India premiere as closing film at the 2024 MAMI Mumbai Film Festival.)

Rumours (2024)

Good Satire (MAMI MFF 2024 #15)

[6/10 · 27 October 2024]

I'm a sucker for satires so Rumours is mostly an A game for me but it felt like the directors (three of them here) lost what to do with all that build-up as the plot loses its way. There are bulbous shoots of top-tier political satire here, accentuated by the incredible cast, but I can't say for sure that I got what they were trying to prove at the end. Is it that all politics is meaningless and only about selfishness? What was Alicia Vikander doing here in one of her worst performances? Maybe it's the gibberish that she was spewing that got me off but Rumours ended in a bad note than how it started. The first 40 minutes of Rumours is a 10/10.

(Watched at the 2024 MAMI Mumbai Film Festival.)

A Different Man (2024)

Surreal (MAMI MFF 2024 #14)

[6/10 · 27 October 2024]

I was not sure when to laugh or look pensive while watching A Different Man but I went with the audience and laughed when they did and thought when they did. Although I'm not sure I agree we should have laughed when we did because the story is of identity crisis above anything else. In this film, a man with facial deformities assumes another life after a successful surgery but is overwhelmed by what his new life is failing to give him and what the old life in hindsight gave him. It's a surreal experience where you will end up thinking about your own life should given a chance to change it and reborn as a new man. A Different Man shows that changing to another person looks good but it's the case of grass is greener on the other side. Sebastian Stan is adorable here.

(Watched at the 2024 MAMI Mumbai Film Festival.)

Little Jaffna (2024)

Electric (MAMI MFF 2024 #13)

[7/10 · 25 October 2024]

You know what's going to happen in Little Jaffna if you've been following the news over the past decade. It may even be easier to predict what will happen to Michael, the central character, if you know the Tamil diaspora in France and a part of it that coddles up to certain causes in Sri Lanka. Yet Little Jaffna is a film that's so electrifying - with a fabulous score and an even better editing - you're bound to get charged up after watching it. The film uses the French boulevards to their maximum effect, giving us viewers a feeling that we're right there in the middle of the chaos created by Michael's new friends who work for a leader whose loyalties lie with a certain group waging war in their home country. A powerful film that has an even more powerful impact. Loved it.

(Watched at the 2024 MAMI Mumbai Film Festival.)

Boong (2024)

Easy (MAMI MFF 2024 #12)

[5/10 · 25 October 2024]

Boong has an iconic opening shot (which some might still take an offense from) but which I feel set the tone for the film and the lead character Boong, the son of a woman is going to be proclaimed a widow by the village. His father has been working somewhere off the India-Myanmar border for a while without any communication, so to find out what's wrong with him, he hatches plans. It's an easy-going film, thanks to Boong and his schoolmate Raju, and their shenanigans but under the film's easy surface are hardhitting takes on gender politics, identity politics, and xenophobia that are hard to miss. It's delightful to watch the young actors play it out - in some cases the rehearsals very evident - but it was difficult for me to alternate between the funny and serious tones of the film. Boong may be a good political film but the blend didn't work out for me.

(Watched at its Asia premiere at the 2024 MAMI Mumbai Film Festival.)

Blue Sun Palace (2024)

Warm (MAMI MFF 2024 #11)

[8/10 · 25 October 2024]

Blue Sun Palace snuck up on me like no other film has in a while. This was not in my MAMI watchlist but its screening fit in my schedule so I went ahead. And boy was I mesmerised. A young woman and a middle-aged man are in love and they spend the night together in a spa store where the former works. The things they talk about and dream about are enough to melt me or anyone who's loved someone before. But the way the film moves after that triggers melancholia that is hard to ignore. Blue Sun Palace is a profound film about loneliness and the way it captures desolation and depression and helplessness is bound to tear you up. It's a film that you want to escape from but once you do you'll keep thinking about it. The man character and his dreamy attitude is something I want to mimic.

(Watched at the 2024 MAMI Mumbai Film Festival.)

Misericordia (2024)

Mild (MAMI MFF 2024 #10)

[7/10 · 25 October 2024]

Misericordia takes its time to shoot and when it starts shooting, there is no way you can contain your laughter till it crescendoes in the final shot. With very mild humour peppered across the film, it narrates the story of a taciturn man who visits a village to attend a mentor's funeral. There he meets his mentor's wife, his son, and a priest - who all seem to be saying something else from what they have in mind. What I love about Misericordia is how suddenly it shifts its writing to make the viewer laugh, all in a deadpan style. Reminded me of Deerskin (2019) and The Bra (2018).

(Watched at the 2024 MAMI Mumbai Film Festival.)

The Ritual (1977)

Fabulous (MAMI MFF 2024 #8)

[6/10 · 25 October 2024]

I love films about superstition so Ghatashraddha (The Ritual) is right up my alley. In it, a widow befriends a young boy in a vedic school and is currently clueless and uninterested in the daily lessons. The widow plays it safe as she's looked at as a woman who has no bearings in the society. But the boy sees her as a friend, not looking at her through the lens of society. And so begins a friendship that's limited but still bountiful. It's amazing to see how what was shown in a 1977 film is still so relevant. While I was disappointed that the titular part forms only a small part of the film, the proceedings have a good impact on anyone who pays attention.

(Watched the restored version at the 2024 MAMI Mumbai Film Festival.)

The Shameless (2024)

Remarkable (MAMI MFF 2024 #7)

[6/10 · 25 October 2024]

The Shameless is adequately gritty for a film about sex workers but it's the central performances that make it stand apart from films that have the similar story of a woman who escapes her lousy life in search of a better, only to end up in the chaos of life. The no-hold-bar approach is interesting here with ample use of Hindi cuss words and an equally radiant production setup. There's a lot to love in The Shameless and to learn from the central character but it's also the character's naivety that teaches you. I was attentive throughout the film and was continuously amazed how a Bulgarian director was able to pull off a film that looks and sounds so Indian. In a way, it shows the power of collaborative cinema. I'll be watching out for these folks.

(Watched at its India premiere at the 2024 MAMI Mumbai Film Festival.)

Armand (2024)

Frustrating (MAMI MFF 2024 #6)

[2/10 · 25 October 2024]

I can see why it won the Camera d'Or at Cannes 2024 but for the love of my life I could not follow the film after midway. A single celebrity mother is called to his son's school by an incompetent teacher and admin duo to discuss an incident involving his son and his friend. It's a great premise and Armand had my rapt attention, also thanks to the fabulous opening shot and overall camera work till then. But then it meanders into self-pleasure territory and I still have no idea what the director intended, with a melange of abrupt dance sequences and an actor laughing for 3 minutes in a stretch. That's where it all started and the whole affair gets frustrating thereafter to never recover.

(Watched at the 2024 MAMI Mumbai Film Festival.)

Despatch (2024)

Good (MAMI MFF 2024 #5)

[6/10 · 22 October 2024]

Despatch starts off really well and I was rooting for Joy Bag (Manoj Bajpayee) as he starts investigating a murder for a story in his paper. I tell myself this is good cinema until Joy gets entangled in a mess. Then all goes haywire as the plot grips and you scratch your head wondering who called him and why and what happened there and oh was that it. Despatch is a film with a lot of potential to send a message about whistleblowers but in an attempt to be a lot of things together, it ends up being a master of none. Still, this is a good Kanu Behl film if you have the time to watch and appreciate Bajpayee's natural acting. Just pay extra attention in the last parts.

(Watched its world premiere at the 2024 MAMI Mumbai Film Festival.)

The Mirage (1984)

Fascinating (MAMI MFF 2024 #4)

[6/10 · 22 October 2024]

The period of 1980s Odisha is fascinating for someone who is watching it four decades later. It captures the gradual disintegration of a joint family with finesse, giving weightage to each generation equally and letting us judge and decide what happened. It's interesting to see the parents toil hard so that they give to their children and the children when they grow up coming up with their own dreams in which sharing with parents or siblings does not exist. Maya Miriga (The Mirage) takes us through a journey of years passing by. There's a sense of sadness that envelops the film, making you part of the despair. It's tragic and I loved it.

(Watched the restored version at the 2024 MAMI Mumbai Film Festival.)

Angammal (2024)

Pertinent (MAMI MFF 2024 #3)

[7/10 · 22 October 2024]

Angammal (name of the protagonist) surprised me with its nuanced take on human complex. Angammal, the lead character is a ferocious woman who is known in her village as a rigid person who does what she likes. She doesn't pay heed to anyone, not even her sons. So when her city-dwelling son decides to introduce his girlfriend to his family, he instantly finds a problem: his mother's habit of wearing a sari without a blouse. Mind you, Angammal has always worn her sari blouseless because she doesn't feel a need for it, so it's not like the son can go up to her and serve the issue. The film is so relatable that you will find yourself in the shoes of most of the characters, and that is the charm of Angammal. A drama film that hits a message home. A message that's still relevant as it was in the 90s in which the film is set.

(Watched at its world premiere at the 2024 MAMI Mumbai Film Festival.)