fiction | Mahdi Ahmed

Posts tagged ‘fiction’

REKHACHITRAM: A CINEMATIC LOVE LETTER WRAPPED IN A MURDER MYSTERY

In Rekhachithram, director Jofin T. Chacko invites us on a journey that goes beyond time, blending mystery with a deep-seated love for Malayalam cinema’s illustrious past. The film intricately weaves a narrative that not only keeps the audience on the edge of their seats but also tugs at the nostalgic strings of those who cherish the golden age of Malayalam films.

The story centers around Vivek Gopinath, portrayed by Asif Ali, a police officer seeking redemption after a suspension. His assignment to investigate a 40-year-old murder case leads him to the enigmatic Rekha, played by Anaswara Rajan, an aspiring actress from the 1980s. The plot masterfully intertwines the investigation with the production of the real-life 1985 film Kathodu Kathoram, directed by Bharathan and starring Mammootty. This clever narrative choice creates an alternate history that feels both authentic and mesmerizing.

Chacko’s direction shines as he seamlessly transitions between the past and present, capturing the essence of the 1980s Malayalam film industry. The meticulous recreation of film sets, the depiction of industry stalwarts, and the subtle nods to iconic moments evoke a profound sense of nostalgia. The film doesn’t merely rely on these elements for sentimental value; they are integral to the storyline, enriching the viewing experience.

Asif Ali delivers a nuanced performance as Vivek, embodying the character’s determination and vulnerability. Anaswara Rajan’s portrayal of Rekha is both poignant and compelling, capturing the aspirations and challenges of an actress in that era. The supporting cast, including Manoj K. Jayan as Vincent and Zarin Shihab as young Pushpa, contribute significantly to the film’s depth and authenticity.

The film’s technical aspects are commendable. Appu Prabhakar’s cinematography beautifully captures the contrasting eras, while Mujeeb Majeed’s music subtly enhances the narrative without overshadowing it.

Rekhachithram is more than just a murder mystery; it’s a heartfelt tribute to Malayalam cinema’s rich heritage. It celebrates the art form, the artists, and the timeless stories that have shaped the industry. For cinephiles and casual viewers alike, this film offers a captivating blend of suspense and nostalgia, reminding us of the enduring magic of cinema.

Highly recommended.

P.S. The use of AI technology to recreate Mammootty’s appearance from the 1985 film is both innovative and respectful, adding a layer of realism that fans will appreciate.

ROBOMAN: THE MOVIE: VISION OF KANDI

Ibrahim Wisan, popular in the filmdom as Kandi, is a name that has become synonymous with drama and visual storytelling in Dhivehi cinema. Known for his work as an old-school cinematographer, Kandi has always had a keen eye for detail and a deep understanding of the visual language of film. With Roboman: The Movie, Kandi takes his career to new heights, marking his first venture into the family film genre and adding another remarkable chapter to his already illustrious career.

Before stepping into the director’s chair, Kandi was widely recognized for his exceptional work behind the camera. As a cinematographer, he contributed to many critically acclaimed projects, known for his ability to capture the perfect shot, evoke emotion, and enhance the narrative through his visual style. His technical prowess and creative vision were evident from the start, making him a sought-after name in the industry.

However, Kandi’s talents were not limited to cinematography alone. His passion for storytelling soon led him to explore the world of direction. His first foray into directing was with a children’s short film, Pink Fairy that charmed audiences with its innocence and imagination. The short film showcased his ability to connect with younger viewers, bringing out the pure and magical essence of childhood through his lens. This marked the beginning of his journey as a director—a journey that would soon take him to new heights.

Roboman: The Movie represents a significant leap for Kandi, as it is his first feature-length film in the family genre. This project allowed him to blend his skills as a cinematographer with his directorial vision, creating a movie that is both visually stunning and emotionally resonant. Kandi’s transition from shorts to feature films showcases his versatility and willingness to explore new genres, pushing the boundaries of his craft.

With Roboman: The Movie, Kandi has ventured into the family genre, a space that requires a delicate balance of humor, emotion, and drama. The film tells the story of two young cousins, Ahu and Asee, who navigate the highs and lows of friendship, rivalry, and dreams as they compete in the Robo Junior Challenge. It’s a narrative that is both heartwarming and thought-provoking, filled with moments of joy, tension, and redemption.

What sets Roboman: The Movie apart is Kandi’s ability to bring a fresh perspective to the family film genre. His background in cinematography is evident in the film’s visual language. Each frame is carefully composed to convey the story’s emotional beats, from the vibrant and energetic dance sequences to the more intimate, character-driven moments. Kandi’s dynamic direction, coupled with fluid camerawork and stunning visual effects by Mohamed Saami, creates a cinematic experience that is both entertaining and visually captivating.

Kandi’s direction also brings out the best in his cast, particularly the newcomers, Amelia and Misha, who play Ahu and Asee. Their chemistry and performances add a layer of authenticity and relatability to the film, making the story resonate with audiences of all ages.

Roboman: The Movie marks a new chapter in Kandi’s career, highlighting his growth as a filmmaker and his ability to handle a full-length feature in a genre he had not previously explored. His dedication to creating a film that appeals to both children and adults shows his commitment to expanding the horizons of Dhivehi cinema. Kandi’s approach to directing this film is not just about entertainment; it’s about telling a story that speaks to the hearts of its viewers, encouraging them to dream, to support each other, and to confront challenges with courage.

Kandi’s journey from cinematographer to director has been marked by bold choices, a relentless pursuit of excellence, and a deep understanding of the art of filmmaking. Roboman: The Movie is not just another film on his resume—it’s a statement of his growth, his vision, and his passion for storytelling.

Roboman: The Movie is set to hit cinemas on 26th September 2024. Stay tuned for more updates and keep an eye on Kandi’s ever-evolving journey as one of the Maldives’ most promising directors.

KAMANAA: Unveiling the Haunting Reality of Domestic Violence

It all began one early morning on 04th June 2023 at Olympus Cafe. As usual, I sat with director Hussain Munawar, affectionately known as Kudafoolhu in the film fraternity, for our morning coffee. With his characteristic enthusiasm, he told me he had a story to share—a true one narrated by his wife, Rish, who got it from the source.

When he finished recounting the series of incidents, my coffee had gone cold, untouched except for one sip. Like the coffee, I felt a chill. Lately, stories with violence have been hard to stomach, and this one, about domestic violence, hit particularly hard. Munawar wanted it to be a spiritual sequel to his debut film “Sazaa,” which also dealt with violence against women and was our first collaboration in 2011. He promised to get an audio recording of the interview with the victim, and I agreed to start the detailed outlining once I received it. Little did I know this story would haunt me for the rest of the day.

The dramatic weight of the story put my brain into overdrive. That evening, on my way to Vilimale’ from Male’, I began crafting the screenplay on the ferry using my trusty Samsung S22 Ultra. By the time I reached Vilimale’, I had a rough outline. Later that evening, sprawled on the sitting room floor, I built up the backstory for all the separate acts of violence inflicted by a husband on his mild-mannered wife. I developed the characters, including the minor ones, and outlined the violent incidents leading up to the climax, staying true to the real story while reimagining it for the screen.

Days turned into weeks and weeks into months. I kept reminding Hussain about the interviews, but due to the subject’s sensitivity, Rish was still unable to record them. Meanwhile, casting had begun. Hussain locked down Mariyam Azza, the most sought-after actress, for the victimized wife and was negotiating with Yoosuf Shafeeu, the most decorated actor, for the violent husband role. He also scouted for an equally renowned actress to play the other woman. Despite some casting setbacks, he eventually onboarded the most up and coming actress, Aminath Rashfa, for the latter role. Veteran actor Mohamed Rasheed and promising actress Natasha Jaleel, along with Mohamed Manik, were assembled for the cast. I tweaked the characters and scenes to better fit the actors’ strengths, making my outline even more engaging.

Still waiting for the interviews, Hussain eventually informed me that he had set a date to begin production. He urged me to start writing. Luckily, I had the rough outline ready. I revised the outline in a day, removing repetitive violence and adding fresh, brutal scenes. Voila, the outline was complete and looked good.

With three weeks to write the screenplay, I divided my time, spending two hours in the morning and two in the evening. By the end of the final week, I had a draft ready and immediately sent it to Hussain for feedback. He shared it with the cast, and I received valuable input, particularly from Rish, who suggested additional scenes leading up to critical violent incidents and some character name changes.

The meeting with Yoosuf Shafeeu was a pivotal moment. When he approved the unrestricted interaction with the other woman, I couldn’t help but grin, my heart racing like a bullet train. I finished the final draft that night, adding intense violence and refining the interactions.

After a journey that began with a chilling tale over coffee, Hussain finally gave me the final title of the screenplay: ‘Kamanaa,’ a loving term in Dhivehi used to address a wife. What started as a daunting task had transformed into a powerful screenplay, getting ready to be brought to life on the big screen.

Kamanaa is set to release on 27th August 2024.