The Times of India, Feb 11, 2025, 11.38 AM ISTCritic's Rating: 3.5Family reunions are rarely simple, especially in households weighed down by generations of unspoken wounds, resentments, and insecurities. Sharan Venugopal's latest film delicately explores this intricate web of emotions, bringing back the kind of deeply rooted family dramas that Malayalam cinema cherished in the '90s. With echoes of classics like 'Arayannagalude Veedu', this film holds up a mirror to our own relationships, making us question whether family is bound by love, duty, or a mere act of endurance.
At the heart of the story are three estranged brothers: Bhaskar, Viswan, and Sethu—each carrying their own share of pain. Bhaskar, who married outside his religion, had walked away from the family two decades ago, declaring he needed nothing from them. Viswan, the eldest, is the custodian of family wounds, the one who carries forward the stories of suffering, anger, and regret. And then there’s Sethu, the so-called "dumb" one, an unmarried man dismissed since childhood due to a learning disorder—yet, ironically, the most mature among them.
It is Sethu who calls his brothers back to their ancestral home in Koyilandy, where their mother Narayani is being brought back from the hospital after being taken off the ventilator. Death is imminent, and while everyone prepares for the inevitable, conversations about property and unresolved grievances begin to surface. The third generation—Viswan’s daughter Athira and Bhaskar’s US-raised son Nikhil—provide a fresh perspective, their bond forming not through nostalgia or obligation, but through self-discovery and silent understanding.
The film is enriched by authentic, relatable characters, with relatives who are well-meaning yet judgmental, curious yet distant—each adding layers to the story. Alencier, Joju George, and Suraj Venjaramoodu bring depth and nuance to the three brothers, portraying them with a mix of vulnerability and restrained intensity. Gargi Ananthan and Thomas Mathew as the younger generation breathe freshness into the narrative, while Sajitha Madathil, Shelly Kishore, and Saraswati Balussery contribute strong supporting performances.
Sharan Venugopal, who has also penned the script, captures the contradictions of familial love—how people who share the same blood can look at each other with resentment, yet deep down, crave understanding and acceptance. There are moments of brutal honesty, where the characters wish for their mother’s passing—not out of cruelty, but exhaustion—so that they can return to their own lives. The tragedy is that, in doing so, they are unknowingly passing down the same unresolved emotions to the next generation.
The film's technical brilliance is subtle yet impactful. The music, sound design, cinematography, and color grading blend seamlessly, creating an immersive experience that feels like a lived-in memory rather than just a narrative. The house itself—weathered by time—becomes a character, holding echoes of love, loss, and lingering tensions.
If there’s a drawback, it is that the film lacks the usual commercial appeal or dramatic highs that typically pull crowds to the theatre. It isn’t a film that thrives on twists or spectacle, but rather, on the quiet intensity of human relationships.
At its core, this is a slice-of-life film that doesn’t offer easy resolutions. Is family about love, obligation, or survival? The answer remains elusive, much like in real life. But in the end, it is love—however flawed or hesitant—that endures beyond grudges and misunderstandings.
A poignant, introspective drama, this film stays with you long after the credits roll, nudging you to call your siblings—not out of duty, but perhaps, out of love.
- Review by Anjana George