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&39Kaanekkaane&39 movie review: An emotional thriller exploring human flaws and complex bonds

Following uyare, director manu ashokan and writers bobby-sanjay return with an emotional thriller kaanekkaane that explores countless flaws in relationships.

kaanekkaane is similar to the 2019 movie uyare, which portrayed real, complex people with character flaws and even healing abilities, but adds more layers to the complexities regarding human ties.

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Much like the Malayalam film aarkkariyam that was released earlier this year, which manages to capture the nuances of family dynamics and was based on a confession, kaanekkaane it’s a bit like you got into a whodunit but ultimately it’s based on a confession and empathy.

The biggest force driving the movie is hinted at in the very first sequence, where we can see a cemetery neglected for a while. the mood is already quite gloomy. And as the film progresses through the narrative, we know that each of them carries baggage.

Deputy Tahsildar Paul played by Suraj Venjramoodu visits Allen, played by Tovino Thomas, and the latter’s wife Sneha (Aishwarya Lekshmi) and their son (Master Alok).

While from afar, they appear to be a happy family, but when you get closer you realize that despite expecting an addition to their family, the couple’s marriage is on the rocks. However, with Paul’s visit, he discovers more about Allen than meets the eye, which justifies the film’s title ‘…as you watch…’

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lead actors steal the show

the highlight here is definitely the excellent acting of the main actors. Even as Bobby-Sanjay’s script delves deeper into each character’s version, the different nuances with subtle chemistry and redefined acts between Suraj, Tovino, Aishwarya and Master Alok give it more depth.

in one of the scenes where prem prakash visits suraj venjaramoodu, we remember the scene uyare between the former actor and siddique. in uyare, it was the clearly written lines that connected, while in kaanekkaane it is the notation of emotions and feelings that stands out.

general mood adequately represented

manu ashokan sets up the story very well. from the death scene to the birth scene, it evokes a bewildering atmosphere with impulsive human emotions. love, loneliness, pain, betrayal, trust, guilt, anger, forgiveness play well rhythmically. the constant switching from past to present is a deliberate attempt to establish the relationship between each character then and now. It’s not like a tragedy strikes the family one good night and sets off a chain of events, but rather it starts up like a slow fire that takes its own time.

the proper persistent punctuation

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Another highlight is the high-pitched background score that lingers even after you finish watching the movie.

cutscene audio was well suited to the situations, especially in creating a mysterious setting with a decent ending.

The script is realistic and enjoyable, but it drags a bit in the last second half, which is mostly melodramatic.

The implication here is that human psychology is complex and flawed.

The film, in fact, doubles as an allegory, as it accuses our conscience of dabbling in different relationships and urges us to let go and give life a second chance.

(the movie is available on sonyliv.)

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