Bhishmar

There’s a warmth in the film’s idea, love in different forms meeting at the same moment. Murukan’s past adds a layer of depth, yet the film does not stay with it long enough. Instead, it gently drifts, picking up humour and emotion in fragments without fully shaping either.


Not every night has to be loud to be meaningful. Bhishmar unfolds in a quiet, unhurried space, choosing softness over speed. Directed by East Coast Vijayan, it moves away from the tension-driven structure of typical one-night thrillers and settles into a more intimate rhythm. Where others rely on urgency, this film leans into stillness, and while that works in moments, it also makes the narrative feel a little too loose at times.


Murukan (Dhyan Sreenivasan) lives a life that seems paused between routine and memory. Into this stillness enter Aravindan (Vishnu Unnikrishnan) and Rasiya, bringing with them a quiet disruption. What follows is a series of conversations and encounters that attempt to connect different emotional threads over the course of a single night.


Dhyan brings a natural ease to Murukan, making the character feel lived-in even when the writing does not fully support him. Vishnu adds a touch of intrigue, though his character feels underdeveloped. Divya Pillai, in her brief presence, leaves behind a sincere emotional note.


Technically, the film remains simple and pleasing. Cinematography by Ratheesh Ram captures the calm mood, while editing by John Kutty keeps the narrative flowing. Ranjin Raj’s music quietly blends into the film’s tone.


Bhishmar ultimately feels like a soft conversation that comes close to saying something beautiful, but stops just before it truly does.


-Anjana George