The Silent Shoulder

By Suresh Nellikode

In the middle of the teeming, restless crowd at North Parur, the world was a blur of flashing cameras, whispering voices, and performative grief. They had all come for a final glimpse of Salim Kumar, the renowned Indian actor who had just closed his eyes to the world forever. Among the mourners were familiar faces from the silver screen—actresses meticulously styled, perhaps acutely aware of the mainstream news channels and social media cameras tracking their every move.

But if you looked past the glare of the lenses, toward the back of the hall where the actor’s wife, Sunitha, sat broken-hearted, you would have noticed a different kind of presence.

For hours, a young woman sat quietly beside her. She wore no noticeable makeup, nor was she draped in the ornate attire of her peers. To anyone passing by, she looked simply like a girl next door. Yet, her arm remained anchored around Sunitha’s trembling shoulders, offering the steady, unspoken comfort that only a true anchor can provide. In a room full of people looking at the stage, she was looking only at the grief.

Remarkably, the media guys and reporters missed her entirely. They did not recognize the gentle soul who had become the only shoulder for Sunitha to lean on.

Her name is Santhy Balachandran.

To those who truly know cinema, Santhi is an incredibly versatile actor and a dedicated theatre artist, with a dozen films to her credit—including striking performances in acclaimed movies like Jallikattu and Gulmohar, as well as various television series. Yet, she has never been one to blow her own trumpet. She doesn’t seek the spotlight; she lets her art speak for itself, which is precisely why the chaotic news feeds of the day overlooked her.

Seeing her there brought back a vivid memory from years ago, far away from this somber room. I had the privilege of meeting Santhi at the Toronto International Film Festival during the world premiere of Lijo Jose Pellissery’s Jallikattu. Even then, amidst the glitz and glamour of an international festival, her humility was striking.

True artists don’t need to perform when the cameras turn off. While the world prepares to see her step into the light again very soon—in Jiyen Krishnakumar’s upcoming film Ananthan Kadu, written by Murali Gopy—her most profound role wasn’t scripted at all. It was played out in the quiet, unvarnished grace of being a friend when the world was too loud to care.

(A FaceBook Post)

Faith on a Fragile Path: Karla Badillo’s Debut Film OCA

By Suresh Nellikode

From the crumbling convent of San Pedro, Sister Rafaela sets off on a small motorcycle toward San Vicente. A young nun deeply rooted in spiritual life, she believes dreams are divine messages—sometimes even warnings of impending danger. To her, everything comes from God, and each life is shaped by divine will. Her journey has a clear purpose: to confess before the Archbishop newly arrived in San Vicente, seek absolution, and present the dire condition of her convent.

Armed with food and water, Rafaela departs under the Mother Superior’s solemn instruction: “God’s will is everything. Leave it all to Him. Never make decisions on your own.” Her prayers echo the familiar cadence of the Our Father, a plea for guidance and deliverance.

Thus unfolds OCA, the first feature film of Mexican director Karla Badillo, a Spanish-language Mexico–Argentina co-production that made its World Premiere at Toronto International Film Festival (TIFF 2025)

On the road, Rafaela’s motorbike breaks down, forcing her to push it until she arrives at a religious procession. The faithful there carry a heavy effigy of St. Gelasius, some fervently believing that joining the city march will invite the devil’s temptations, others crawling on their knees in displays of extreme devotion. Among them is Rogelia, a kind-hearted girl eager to help Rafaela, and a guitarist who longs to play a song for her. Yet the crowd also harbors mockers, opportunists, and even cruelty.

When a soldier offers to repair her motorcycle, he instead steals it away. The effigy bearers, exhausted and disillusioned, begin to lose their faith. Rogelia insists on helping, despite the seniors’ objections, and is grudgingly allowed to carry the sacred weight—dismissed as “ugly but strong.” In time, even Rafaela herself is accused of leading them astray.

Rafaela eventually crosses paths with Palmera, a wealthy woman, and her driver, Manuel. Though surrounded by comfort, Palmera is disenchanted, lacking love and skeptical of miracles. When asked what faith means, Rafaela answers simply: “Faith is to blindly believe in something you can’t see.” Meanwhile, the holy effigy crashes from a truck and shatters on the ground, mirroring the collapse of ritualistic faith.

At last, Rafaela reaches the city and the Archbishop. From a towering platform he preaches, while an aged nun struggles to bring him water. Suddenly, the platform collapses—an allegory of authority crumbling under its own weight. The film closes with Rafaela sitting inside the ruined convent, a haunting image of solitude and uncertainty.

Sister Rafaela evokes echoes of Luis Buñuel’s Nazarin and Viridiana: a figure caught between sanctity and brutal worldly reality. Badillo juxtaposes spiritual purity with harsh survival, showing how rituals and beliefs often give way when tested by hunger, fatigue and human frailty.

Drawing from her own childhood in San Luis Potosí, where strict Catholic structures and patriarchal domination curtailed women’s agency, Badillo shapes OCA into both a personal reckoning and a universal parable. What begins as a nun’s pilgrimage becomes an allegory of fate, faith, privilege, and power.

The performances—Natalia Solian as Sister Rafaela, Cristel Guadalupe Nunez as Rogelia, Cecilia Suárez as Palmera, and Gerardo Trejo-Luna as Manuel—bring raw vitality to the screen. Cinematographer Diana Garay captures the Mexican landscape with painterly brilliance, evoking both majesty and desolation.

The title OCA refers to The Game of the Goose, a Spanish board game of unpredictable moves through ups and downs. Just like in the game, Rafaela’s journey unfolds as an unpredictable pilgrimage through belief, betrayal and broken illusions.

Ultimately, Badillo’s film portrays the unsteady balance within the Catholic Church: on one side, priests reveling in privileges, and on the other, women weighed down by vows and restraints. Ordinary believers, too, are shown—caught between devotion and self-interest, struggling to rise above hollow ritual. For audiences, especially in Latin America but resonant worldwide, OCA mirrors a society where faith is at once a refuge and a burden. A visually striking and emotionally unsettling pilgrimage, OCA redefines what it means to hold faith on uncertain ground.

(Countercurrents.org Dtd Sep 17, 2025)

Conclave – A Tale of Power, Faith, and Secrecy in the Vatican

By Suresh Nellikode

The Vatican, a tiny, enigmatic seat of power with a global reach, remains a realm few can fully comprehend. Though spanning only 108 acres—about the size of a golf course—it stands as the sole sovereign nation capable of influencing the lives of over two billion Christians worldwide. Its unique structure makes it an absolute monarchy, not inherited by familial ties but governed by spiritual authority, with a population of fewer than 1,800 residents.
As the authoritative center for nearly 30% of the world’s Catholics, the Vatican wields a power that governs life and faith. Yet, this power—rooted in spiritual directives—is often shrouded in uncertainty. While many adhere to faith out of deep-seated tradition or inherited beliefs, others grapple with the weight of skepticism, choosing faith more out of habit than conviction. This complexity places a unique burden on the Vatican, much like other religious authorities, to guide followers on key social issues, from same-sex marriage to abortion and contraception. Making decisive rulings on such polarizing topics is no easy feat, especially in a world marked by diverse and often conflicting viewpoints. Here lies the delicate yet substantial responsibility the Catholic Church shoulders through its headquarters in the Vatican.

The allure of Vatican secrets has captivated the world, sparking curiosity and giving rise to a subgenre of films set against this intriguing backdrop. Some recent additions include The Young Pope (2016), The Two Popes (2019), and The Pope’s Exorcist (2023). Joining this list is Conclave, directed by Edward Berger and based on Robert Harris’s novel. Premiered at the Toronto International Film Festival (TIFF 2024), Conclave dramatizes a sudden papal vacancy and the ensuing closed-door assembly of cardinals—an intense portrayal of intrigue, political maneuvering, and the search for a new pope.

The story follows Cardinal Laurence, Dean of the Vatican, who finds himself reluctantly steering the conclave. While he accepts this role as divine providence, he quickly discovers it is fraught with power plays, whispers of scandal, and hidden agendas. Laurence is portrayed as a quintessential ‘good book’ figure, a candidate embodying the Platonic ideal that “the most suitable rulers are not those who desire power.” Despite his qualifications, he’s acutely aware of the lurking dangers of power, which he views with caution rather than ambition.

The race to the papal seat is marked by starkly different candidates: Cardinal Bellini, a liberal American with popular appeal; Cardinal Tremblay, a Canadian moderate, who brings a mysterious air; Cardinal Tedesco, a staunch conservative from Italy, intent on reining in progressivism; and Cardinal Joshua Adeyemi, a Black cardinal from Africa. Joining the mix is a secret nominee, Archbishop Benitez from Kabul—a cardinal appointed by the late pope “In Pectore.”

As the conclave advances through several rounds, each vote is symbolized by dark smoke billowing from the Sistine Chapel’s chimney until a decision is reached. Amid covert exchanges and whispered accusations, a revelation disrupts the process: a scandal tied to an illicit affair surfaces, threatening one of the candidates’ eligibility. This character pleads with Laurence to keep the matter concealed, but as evidence emerges, the scandalous affair is laid bare. Ultimately, Sister Agnes, a silent but perceptive nun, exposes the truth, adding an unexpected twist to the already volatile conclave.

Edward Berger, acclaimed for his recent All Quiet on the Western Front adaptation, brings nuance and gravity to Conclave, deftly balancing the sensitive intersections of tradition, power, and secrecy. Ralph Fiennes, in the role of Cardinal Laurence, delivers a masterful performance, embodying the role with a gravitas that feels irreplaceable. Supporting him are Stanley Tucci as Cardinal Bellini, John Lithgow as Cardinal Tremblay, and Sergio Castellitto as Cardinal Tedesco, each portraying their roles with complexity and conviction.

Isabella Rossellini, as Sister Agnes, captivates as the film’s quietly resilient nun. A daughter of cinematic legends Ingrid Bergman and Roberto Rossellini, Isabella brings an understated strength to her character. Her portrayal draws a parallel to the silent yet powerful nuns of the Vatican—observing all, saying little, yet understanding everything. Director Berger likened her performance to a delicate yet powerful move in a chess game, symbolizing the quiet force that stands resilient in a world dominated by men.

While Conclave may attract its share of criticism from traditionalists, Berger’s thoughtful storytelling offers a mirror to the timeless tensions between tradition and change. According to Bishop Robert Barron of the Diocese of Winona-Rochester, the film presents a provocative “falsehood, cleverly assembled with every modern ingredient to captivate.” Berger, however, reveals the film’s underlying theme as a deeply human exploration of faith and ambition within a confined, mysterious world.

countercurrents.org
Nov 14, 2024

A Fall, A Friend: Meeting Tony at 96

I met Tony during my daily walk last week – a remarkable 96-year-old who lives independently, navigating his world with the help of a walker. Our first interaction was a simple exchange of greetings as our paths crossed. I continued on my way, turning left to capture some fall foliage photos, unaware that this chance encounter would soon become more meaningful.

As I approached a bridge, I noticed Tony had paused by a small bush, reaching out to pluck a leaf. In that moment, tragedy nearly struck – he lost his balance and fell flat, his head hitting the asphalt. I immediately rushed to his aid, offering to help him up. Though he initially wanted to try standing independently, his attempts proved futile, and he couldn’t even reach his walker for support. When I extended my hand, he gratefully accepted, and in that moment of vulnerability, he began sharing his story.

Tony, I learned, lives in the nearby neighborhood. He spent his career as a pattern maker in a factory before retiring three decades ago. These daily walks have become part of his routine, and he finds joy in collecting leaves that catch his attention. We exchanged introductions, and his gratitude was profound. “If you hadn’t been here,” he confided, “I might have been lying on the ground for a long time until someone found me.”

Despite his fall, Tony’s spirit remained undimmed. As he prepared to continue his walk, he smiled and mentioned that our paths might cross again – a reminder that sometimes the most meaningful connections begin with a simple act of kindness.
****

Toronto International Film Festival 2024: A Cinematic Celebration in the Heart of Autumn

By Suresh Nellikode

As Canada embraces the beauty of autumn and steps into the chilly onset of winter, the city of Toronto once again witnessed the curtain fall on the ‘festival of festivals.’ Over 250 films, representing 70 countries, captivated an audience of nearly 350,000 across 25 venues over the course of 11 days. Filmmakers, directors, and actors from prominent films graced the red carpet at four different venues, shining in the silver spotlight as adoring fans braved the cold and heat for hours just to catch a glimpse of their favorite stars. During the first four days, the bustling King Street West in downtown Toronto transformed into a pedestrian-only pathway, as locals and international guests alike filled the city’s hotel rooms.

When the 11-day cinematic extravaganza drew to a close, film enthusiasts left with a list of must-watch movies etched in their minds. Despite seeing four or five films a day, no one could hope to catch all the favorites! One of the unique aspects of TIFF is that many of its selections go on to receive Oscar nominations, with several winning top awards.

The highlight of TIFF 2024 was the People’s Choice Award, chosen by the audience, which went to Mike Flanagan’s The Life of Chuck. The second place was awarded to Emilia Perez by Jacques Audiard, and Anora by Sean Baker came in third.

In the Midnight Madness category, the crowd favorite was The Substance by Coralie Fargeat, followed by the Taiwanese film Dead Talents Society by John Hsu in second place, and the American film Friendship by Andrew DeYoung in third.

In the documentary section, the top audience pick was The Tragically Hip: No Dress Rehearsal by Mike Downie. Second and third places were awarded to Will & Harper by Josh Greenbaum and Your Tomorrow by Ali Weinstein, respectively.

The FIPRESCI Prize, awarded by the International Federation of Film Critics for Best Debut Feature, went to Somali filmmaker K’naan Warsame for Mother Mother. The jury praised the film for delivering a message of humanity in a region rife with violence and turmoil. The esteemed jury members included Li Cheuk-to, Pierre-Simon Gutman, Azadeh Jafari, Saffron Maeve, and Wilfred Okiche.

The NETPAC Award for Best Asian-Pacific Film was presented to The Last of the Sea Women, directed by Sue Kim. The film tells the story of a group of elderly female divers on South Korea’s Jeju Island, shedding light on their fight against global warming and ocean pollution. The jury, comprising Hannah Fisher, Dr. Vilsoni Hereniko, and Kerri Sakamoto, noted the film’s call for empathy towards this marginalized group.

Matthew Rankin’s Universal Language was awarded Best Canadian Debut Feature, while You Are Not Alone by Marie Helen Viens and Philippe Lupien received a Special Mention in this category.

The Canada Goose Award for Best Feature Film went to Shepherds by Sophie Deraspe.

In the Platform section, They Will Be Dust, a Spanish film directed by Carlos Marques-Marcet, was named Best Film, with Daughter’s Daughter by Taiwanese director Huang Xi earning a Special Mention.

Several short films also received awards during the festival.

It is worth noting that none of the entries from India received any awards this year.

As the curtain falls on this 11-day visual extravaganza, preparations for the 50th anniversary celebrations of the Toronto International Film Festival are already underway. The next festival is set to take place from September 4 to 14, 2025.

Countercurrents.org – Sep 17, 2024
Photo courtesy : TIFF 2024

All We Imagine As Light & Superboys of Malegaon selected for TIFF 2024

By Suresh Nellikode

Two films from India have secured a place in the list of 63 films selected for the Gala and Special Presentations sections of the 49th Toronto International Film Festival (TIFF 2024). The films are All We Imagine As Light, directed by Payal Kapadia, which won the Grand Prix at the recent Cannes Film Festival, and Superboys of Malegaon, directed by Reema Kagti.

The films showcased in the Gala and Special Presentations programmes are considered to be the best out of all submissions of the year, as evaluated by the organisers.

All We Imagine As Light, featuring Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, and Azees Nedumangad in prominent roles, has production collaborations from European countries including France, the Netherlands, and Luxembourg. The film, also written by Payal, tells the story of two Malayali nurses living in Mumbai. A Night of Knowing Nothing, Payal’s first documentary film, had its world premiere at TIFF 2021 and bagged the Amplify Voices Award.

In Reema Kagti’s Hindi documentary film Superboys of Malegaon, the main roles are played by Adarsh Gourav, Vineet Kumar Singh, and Shashank Arora. The screenplay for the film, which tells the story of amateur filmmaker Nasir Shaikh and a few of his enthusiastic friends in Malegaon, a small town in Maharashtra, is written by Varun Grover.

Films by renowned directors such as David Cronenberg, Jacques Audiard, Angelina Jolie, Gia Coppola, Morgan Neville, Cosima Spender, Uberto Pasolini, David Gordon Green, Mike Flanagan, and Woo Min-Ho also feature in the main film list.
TIFF 2024, which will run from September 5 to September 15, will see the announcement of over 300 more films. The film festival attracts an audience of around 5,00,000, more than 2,000 volunteers, and around 1,500 media professionals from various parts of the world.

(The News Minute – Jul 25, 2024)

A Keyless Drive

A keyless ignition, a popular new-generation automotive convenience, recently taught us a valuable lesson that drove it home. How can a car take us for a ride without a key? The answer is a definite “yes,” and the distance is almost 30 km, and I stand as proof with an example.

My brother-in-law Sreesh came to Toronto from Bengaluru for a conference, and it was the day of his return. Everything was packed up and thrown into the boot of a started car, and we were on our way to Billy Bishop Airport, at the Toronto Islands. We were busy talking about many things that had happened within a year, in between our meetings. When we passed about half the distance, say about 30 km, to our shock, I found a message flickering on the dashboard saying we were on a keyless drive. As usual, Sujatha was on the wheels as she enjoys driving, and I, a Sunday driver, find solace in the navigator’s seat, thanks to my usual story of sleepy driving or inability to spot the red lights.

So, we had two options in front of us. One was to keep heading to Toronto, saying all the prayers, drop Sreesh at the airport, and continue our homebound journey without stopping the car. The second option was to take a U-turn immediately to home, take the key, and continue the journey. The majority opinion was in favor of taking an immediate U-turn to avoid more complications. Meanwhile, Sujatha, always the last one to take up the blame, started blaming me for not checking up on everything at the outset. I dodged the ball then and there, blaming the responsibility of the driver, who has to ensure everything is in order. Finally, she succeeded in finding out Tony, who was asked to start the car and is now sitting at home. She hollered at him for not keeping the key inside the car after the morning start-up. He gave her back in the same length, quoting the Ontario Police Rules that do not allow unmanned cars to idle with keys inside. He added that such cases can fetch traffic fines of up to 500 dollars for the driver. By hearing the density of the traffic ticket, although she reduced the volume, she capped it up by saying that it was senseless for someone to start the car and keep the key inside the house.

All this time, the car was murmuring and whining that she had done her duty by showing the mistake on the dashboard. The argument went up to different escalations blaming each other.

Toronto International Film Fest: Poised for a splendid comeback

By Suresh Nellikode

TIFF 2022 will run from September 8 to 18 without any of the restrictions of the last two years. Prior to the festival, notable works from Satyajit Ray and his contemporaries will be presented between August 4 and 27.

A scene from Charulata

After a long patch of lockdowns and pandemic-inflicted restrictions, it’s time for Toronto International Film Festival (TIFF) fans to get spoiled for choice. While the 47th edition of the film festival is two months away, the organizers have planned a wonderful line-up of events and TIFF looks poised for an opulent comeback this year.

TIFF 2022 will run from September 8 to 18 without any of the restrictions that were in place in the previous two years. It’ll spring back to its previous normal with added surprises to make good for what was lost in the last couple of years. There were only 50 films in 2020 and 150 in 2021, with fewer in-person shows and more hybrid online shows. There were hardly any press or industry guests from other countries. Usually, thousands of guests come over from different parts of the world to celebrate ‘The Festival of Festivals’ in Toronto every year.

“We’re not going to do online screenings like we did in the last two years,” said TIFF’s Chief Executive Cameron Bailey during a press conference in April this year. Although TIFF has five screens on its premises plus around 25 other theatres, most of the films were screened online due to COVID-19 regulations for two years. This time, the authorities have decided to use online platforms only to relay press meets and other non-screening programmes. TIFF’s ticket pricing tiers were announced a month ago, even before the titles of the films were publicised.

Prior to the festival, TIFF has already chalked out its summer screenings where Indian movies are in the limelight. Between August 4 and 27, TIFF will present notable works from Satyajit Ray and his contemporaries. Ray directed 36 works in a span of over 40 years (1950 to early 1990s), which include fiction, documentaries and shorts. He’s the unquestioned leader of India’s parallel cinema movement who dared to portray the post-independence legacy, poverty, patriarchy, corruption and the like. His films are acclaimed worldwide for remaining deeply humanist and hopeful. Although a year late due to the pandemic, it’s encouraging to note that TIFF is celebrating the centenary of one of India’s greatest filmmakers. This series will have extended introductions by its curator, the renowned film critic Meenakshi Shedde.

The series will start with the filmmaker’s personal favourite Charulata (The Lonely Wife, 1964), about a housewife who wipes out her literary faculties in order to save her affair. The other movies are Devi (The Goddess, 1960) about a patriarch’s dreams of turning her daughter-in-law into a goddess incarnate. Nayak (The Hero, 1966) is about a matinee idol’s insecurities. Shatranj ke Khiladi (The Chess Players, 1977) is a historical film in Hindi revolving around the British overthrow of Wajid Ali Shah of Awadh in 1856. Besides these, there are films by four Ray contemporaries – Ritwik Ghatak’s partition masterpiece Subarnarekha (The River – Subarnarekha, 1965), Aparna Sen’s Mr and Mrs Iyer (2002) which deals with communalism through a love story, Mani Kaul’s wonderful avant-garde documentary Siddeshwari (1989), and Amit Dutta’s breath-taking Nainsukh (2010), which drew inspiration from Ray and Kaul. Anik Dutta’s Aparajito (The Undefeated, 2022), a charming primer and tribute to Ray on his filmmaking, is another movie in the summer schedule.

The titles of films that are expected to be screened at the festival this year will be published by the end of July.

(The News Minute – July 2022)

TIFF Releases its 2021 Gala & Special Presentation Titles

TIFF Releases its 2021 Gala & Special Presentation Titles

Joji – A Brilliant Peek Across the Kerala Village Lives

By Suresh Nellikode

Spending too much money on big-budget productions is not advisable when the film industry, by and large, sleeps as an after-effect of the present pandemic. As a result, micro-budget movies have been conceived, shot and released worldwide in different genres. That’s how the films like SEE YOU SOON, THE GREAT INDIAN KITCHEN, IRUL, WOLF etc came out in Malayalam through various OTT streaming. JOJI, a film that could be included in that category, has indeed something new to tell us about what we kept seeing but not given much social importance. That’s about the long-living patriarchy and the male high-handedness still holding the fort in Indian households.

Fahadh Faasil

JOJI, directed by Dileesh Pothen and scripted by Syam Pushkaran had its worldwide release on Amazon Prime, in the first week of April 2021. No sooner had it reached the households than the critics raised their heads with different allegations like it did not do justice to the play ‘Macbeth’ as credited by the makers. A good number of viewers and critics have come up with its desultory connection with IRAKAL (The Victims), a 1985 film by veteran film maker K G George. On the other hand, a majority have enjoyed the movie without any complaints, as they sadly lived a story like this or witnessed one in their neighbourhood. If we have a close look at IRAKAL, the connection they want to establish does not seem to hold water at all. There may be a slight similarity in certain characters and that wouldn’t mark enough to plagiarize a movie.  The characters created by Dileesh Pothen and Syam Pushkaran stand on top and living in the current world with their own peculiarities. They are with flesh and blood in their creation. It shows many in-house stories that had been going on either suppressed or stamped as social stigma. Cinema has branched out as political weapons against the hidden realities hitherto. It could boldly call a spade a spade and stand against the discrimination and injustice worldwide. Pothen and Pushkaran are not the Johnnies-come-lately with wide scarves worn about their shoulders. They had already proved their mettle in movies like MAHESHINTE PRATHIKARAM and THONDIMUTHALUM DRIKSAKSHIYUM with wonderful stories to show afresh.

As I mentioned above, the makers unnecessarily admit that JOJI has been inspired by Shakespeare’s Macbeth. It was not needed at all, since it doesn’t come near to the play in any way. There are no enough events that remind Macbeth except a few feeble lookalike moments. Maybe that declaration had prompted dignitary poets like Satchidanandan to come up and say that there’s no justification for the film to claim a courtesy to the story of Macbeth. He might have been under the impression that who would be there more than him to have an authorized say on the matter, he being a retired professor of English literature.

The next allegation was its similarity to the film IRAKAL, directed by KG George. One of the main proponents of this allegation was Radhakrishnan MG, one of the top brasses of the Asianet TV channel. He bluntly alleges that JOJI is a replica of IRAKAL and Dileesh Pothen should have acknowledged the plagiarism from that film through its titles.

Syam Pushkaran / Fahadh Faasil / Dileesh Pothen

IRAKAL and JOJI are two different stories except for the slight similarity of the lone bungalows situated in the large rubber estates that appear in both and the number of children the guardians have. What wonders me is the inability of this school of critics in studying both movies. Both are telling two different stories. IRAKAL is a story that goes back to three decades and JOJI happens yesterday and today-like in its time. Maybe, both the characters played by Ganesh Kumar (Irakal) and Fahad Fazil (Joji) are frustrated and fumes for freedom; another similarity to point out, but a part of the Kerala life still.

I can point out a minimum of five families similar to that of Panachel PK Kuttappan’s (Joji) in a distance of about five kilometres in between the homes of Dileesh Pothen’s and mine. When JOJI says such a common story, how can it be termed as a failed adaptation of IRAKAL? IRAKAL is available on Youtube and those who want to compare could watch that and form their own opinions on that matter.

When the male highhandedness and patriarchy dominate many of the families in India, each one can contribute to a film script in its own unique way. Fahadh Faasil, as the youngest of the sons who doesn’t seem to fit in with the others, has done an exceptional performance in the film. Unni Maya lived very well as the less spoken Bincy on the edge. Baburaj, Joji Mundakkayam, PN Sunny, Basil Joseph, Shammi Thilakan etc have all performed very well under the close watch of the director  Dileesh Pothen. Kiran Das, an adroit editor has turned the lumps into an object of great beauty. The aesthetically pleasing music by Justin Varghese has added to the richness. And last but not least is the inimitable cinematography of Shyju Khalid.

(CounterCurrents.org – Apr 21, 2021)