Movies | Mahdi Ahmed

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IBRAHIM WISAN (KANDI): PAINTING KAN’BULO IN LIGHT AND SHADOW

Fresh off directing last year’s family blockbuster Roboman, Kandi returns to his roots behind the camera — not as a director this time, but as the cinematographer of Kan’bulo. His deep understanding of visual storytelling and how cinematography can shape emotional resonance is on full display here. Kan’bulo is a far cry from the lighter, broader appeal of Roboman. It’s a film rooted in silence, restraint, and emotional nuance. It demands sensitivity over spectacle, and Kandi delivers exactly that.

What makes this collaboration even more meaningful is the history Kandi shares with Hussain Munavvaru, the director of Kan’bulo. Few may know this, but Kandi isn’t just Munavvaru’s close relative — he’s also the one who introduced Munavvaru to the world of cinema. It was Kandi who first handed a teenage Munavvaru a camera, sparking the journey that would eventually lead to Munavvaru’s acclaimed directorial career. Before he helmed his breakout debut Sazaa, Munavvaru began his path through cinematography — a path illuminated by Kandi’s guidance.

For Munavvaru, having Kandi serve as cinematographer on Kan’bulo wasn’t just a professional choice; it was the fulfillment of a long-held creative dream. This collaboration feels like a full-circle moment — mentor and mentee reunited, now as equals, crafting a story that demands precision, empathy, and technical restraint.

Kan’bulo isn’t driven by spectacle. It breathes in small spaces, long silences, and fragile emotional landscapes. Kandi’s cinematography reflects that reality. His camera work is defined by discipline and clarity. There’s no unnecessary flourish — only carefully composed frames that serve the emotional architecture of the film. His use of muted palettes, purposeful lighting, and visual contrast to delineate memory from present tense demonstrates his deep understanding of the psychological demands embedded in the story.

As a screenwriter, my responsibility ends with the words on the page. It’s artists like Kandi who elevate those words into visual poetry — translating silence into space, subtext into shadow, and emotion into light. In Kan’bulo, his lens doesn’t demand attention; it simply exists where it needs to, holding every frame with quiet, deliberate weight. I have no doubt the audience will feel the presence of Kandi’s craft in every frame.

Kan’bulo is set to be released on 31 August 2025.

HUSSAIN MUNAWWARU: CRAFTING THE UNSEEN SILENCE OF KAN’BULO

My creative journey with Hussain Munawwaru spans well over a decade. From the brutal realism of Sazaa to the devastating truths of Dhilakani, and more recently the uncomfortable introspection of Kamanaa, our collaborations have always been rooted in a shared commitment to confronting uncomfortable realities through cinema. With Kan’bulo, our fourth project together, Munawwaru’s direction once again proves why he remains one of the most fearless filmmakers working in Dhivehi cinema today.

Kan’bulo began in the wake of Kamanaa’s success — fresh after its theatrical run. Munawwaru handed me a digital copy of Yuktha, the 2009 National Award-winning long story, itself inspired by true events. I finished reading it in a single breathless sitting.

At its core, it was a harrowing account of suffering through the eyes of a 9-year-old. But Munawwaru, in his wisdom and restraint as a responsible storyteller, proposed a crucial shift: the protagonist’s age should be increased to 16 or 17. His reasoning was both artistic and ethical. While Kan’bulo still demands courage from its audience, asking them to endure the discomfort of confronting realities often left unspoken, portraying such trauma through the innocence of a 9-year-old would veer too close to the unbearable for our already conservative audience.

That decision speaks volumes about Munawwaru’s maturity as a filmmaker. He doesn’t flinch from darkness, but he understands the weight of responsibility — knowing when to push, and when to protect. He understands that cinema isn’t just about shock; it’s about resonance. It’s about asking the audience to walk the line with you without turning away in numbness.

What Munawwaru achieves with Kan’bulo is perhaps his most restrained, yet most quietly brutal work to date. Where Kamanaa confronted violence with raw, graphic immediacy, Kan’bulo lingers in the silences. His direction here is defined not by how loudly a scene can speak, but by how deeply it can wound without words. This film doesn’t move on dramatic cues or conventional pacing — it breathes in long pauses, in glances, in the weight of what’s left unsaid. Munawwaru lets the camera observe, unblinking, without interference. In doing so, he allows the audience no escape. They must sit with the discomfort. They must feel the slow erosion of the human spirit unfold.

Technically, Munawwaru continues to refine his visual language — muted palettes, claustrophobic framing, and stillness used as both tension and release. His collaboration with Fai on sound and Inthi on music furthers this precision. But equally vital to shaping the fractured emotional rhythm of Kan’bulo is the meticulous work of Abdulla Muaz, whose editing serves as the narrative’s silent architect. Nothing is there by accident. Every moment feels curated to serve the psychological architecture of the film.

As a screenwriter, I trust few directors to carry the weight of my scripts with the same reverence for subtext and emotional integrity as Munawwaru. He reads beyond dialogue. He listens for what isn’t spoken. He understands that trauma doesn’t always scream; sometimes, it barely whispers. And it’s in that silence where Munawwaru does his most harrowing work.

Kan’bulo is not Kamanaa. It’s a different film with a different pulse. But like every film we’ve created together, it is guided by Munawwaru’s unwavering belief that the stories we tell matter only if they remain true — no matter how difficult they are to watch.

Kan’bulo is set to be released on 31 August 2025.

F1 (2025): KOSINSKI’S PIT-PERFECT LAP

I revved into F1 (2025) expecting Top Gun: Pit Crew Edition — Brad Pitt, visor down, throttle open, powering through the backstretch of midlife. And sure, that turbo-charged swagger is here. But director Joseph Kosinski doesn’t just run a few hot laps for show — he gives us a full Grand Prix of emotion, grit, and grease. This isn’t just another studio pit stop — it’s a championship-level drama wrapped in racing gear.

Kosinski drives the film like someone who knows every corner of the circuit. Fresh off the Top Gun: Maverick podium, he brings the same aerodynamic precision — but this time, he downshifts when needed. F1 isn’t just spectacle; it breathes. He’s got a mechanic’s eye for detail and a racer’s instinct for timing, crafting scenes that glide, grip, and occasionally gut-punch. Under his direction, F1 becomes more than a race movie — it’s a story of wear, tear, and redemption, told in carbon fiber.

Pitt plays Sonny Hayes, a once-legendary driver pulled back to the grid to coach a rising star — Damson Idris, magnetic and refreshingly grounded. It’s the classic “one last lap” setup, but Pitt doesn’t come in hot. He eases into the role with restraint, playing Sonny like a man still haunted by the corners he missed — both on the track and off. There’s a scene where he watches Idris from the pit wall after a brutal qualifying run — no words, just a look that says, I’ve been there. It’s a quiet pass of the baton. No melodrama. Just respect.

Javier Bardem and Kerry Condon round out the team with precision casting. Bardem, as the seasoned team principal, mixes pit wall wisdom with ruthless edge — a man who can quote philosophy and still gamble on slicks in the rain. His moments with Pitt crackle, like two old engines revving in sync, each carrying scars from different races. Meanwhile, Condon plays the team’s technical director with steely calm. She’s the data whisperer, the emotional barometer, the quiet pulse beneath the roar. Together, they give the film its backbone.

And the racing? Holy downforce. F1 doesn’t rely on green screen trickery — it hugs the tarmac. Real cars, real tracks, real speed. Every turn, overtake, and braking point feels electric. Claudio Miranda’s cinematography is pure art — racing shot like high-velocity ballet. You don’t just see the speed. You feel it press into your chest.

Hans Zimmer doesn’t just score the film — he tunes it. His compositions rise and idle like an engine under pressure, syncing perfectly with the film’s emotional pulse. It’s not peak bombastic Zimmer — it’s restrained and elegant.

What really impresses is how F1 downshifts at the right moments. Between tire screeches and engine roars, it finds its quiet gears. The bond between Pitt and Idris is warm and lived-in — like two drivers who’ve seen different races but respect the same finish line. Their chemistry never fishtails into sentimentality. It stays grounded.

Sure, the plot hugs the underdog racing line a little tightly, and the final stretch may be a touch too clean. But when a film lets you feel every emotional gearshift, every mental chicane — you don’t mind a smooth corner or two.

F1 isn’t just about taking the checkered flag. It’s about staying in the race — battered, aging, but still chasing the ghost of who you once were. Brad Pitt may be burning through the latter laps of his career, but here, he’s running rich — eyes on the apex, soul on the line.

Slam the pedal. This one’s worth the full circuit.

P.S. Pitt and Idris actually drove specially modified Formula 2 cars dressed up to look like F1 monsters. With real telemetry, real rigs, and real speed. So, when you see Pitt dive into a corner at 150 mph, that’s no digital illusion. That’s a man inside a carbon-fiber bullet, grinning like a driver who still lives for the redline.

DRAGON (2025): A DRAMEDY ON REDEMPTION

“Dragon” (2025) is a Tamil cinematic gem that takes you on an emotional rollercoaster, blending humor, drama, and romance into a narrative that’s both engaging and thought-provoking. Written and directed by Ashwath Marimuthu, this film showcases the journey of D. Raghavan, affectionately known as ‘Dragon,’ portrayed with remarkable depth by Pradeep Ranganathan.

Pradeep masterfully captures the essence of Raghavan, a rebellious college student burdened with 48 arrears, making his journey from academic underachiever to a man confronting his past both believable and deeply engaging. Pradeep’s performance is a harmonious blend of humor and emotional depth, allowing audiences to connect with Raghavan’s struggles and triumphs on a personal level. His nuanced acting ensures that Raghavan’s transformation is not just seen but felt, making this film a truly immersive cinematic experience.

Anupama Parameswaran shines as Keerthi, bringing a nuanced performance that adds layers to the storyline. Kayadu Lohar, as Pallavi, delivers a compelling portrayal that complements the ensemble cast, including notable performances by Mysskin, Gautham Vasudev Menon, and K. S. Ravikumar.

Leon James’ musical score is the soul of the film, perfectly capturing the essence of each scene and elevating the overall experience. The cinematography by Niketh Bommireddy paints each frame with a vibrancy that mirrors the protagonist’s tumultuous journey.

The editing by Pradeep E. Ragav crafts a rhythm that effortlessly shifts from college mischief to heartfelt drama. Each scene flows smoothly, ensuring that even the predictable beats hit just right. It’s as if the cuts know exactly when to hit the gas or slam on the brakes, keeping the film crisp and engaging—solid editing that gives Dragon its cool, modern pulse.

However, what sets “Dragon” apart is the adept screenplay by Marimuthu, blending conventional narrative structures with inventive storytelling techniques. His screenplay seamlessly integrates humor and drama, ensuring that each scene propels the story forward while deepening character development. The strategic placement of comedic elements provides relief without undermining the narrative’s emotional weight. Additionally, the screenplay’s pacing maintains audience engagement, balancing moments of levity with poignant sequences that resonate on a human level.

This film seamlessly weaves a tale of redemption without being preachy. It holds a mirror to society’s pressures and the lengths one might go to overcome personal failures. The film doesn’t shy away from showcasing the protagonist’s flaws, making his redemption arc all the more satisfying.

In essence, “Dragon” is more than just a film; it’s an experience that resonates deeply, reminding us of the power of second chances and the human spirit’s resilience. A must-watch that leaves you reflecting long after the credits roll.

P.S. The poignant scene at the end between Dragon and his father, Dhanapal, portrayed with heartfelt sincerity by George Maryan, is one of the film’s most emotionally charged moments. If that scene doesn’t open your floodgates, then maybe nothing will.

ROBOMAN: THE MOVIE: FROM ROCK TO REEL

For years, Shahyd Legacy has been renowned for his powerful riffs and electrifying performances as the lead guitarist of the band Sacred Legacy. Known for his technical prowess and the raw energy he brought to the stage, Shahyd carved out a name for himself as one of the most talented musicians in the Maldives. However, his musical journey has taken an exciting turn from the world of rock to the captivating realm of film scoring, where he is now composing music for feature-length movies. His latest project marks a significant milestone: Roboman: The Movie, his first foray into creating music for a family-oriented film.

Transitioning from rock music to film composition might seem like a leap, but for Shahyd, it’s a natural evolution of his creative expression. With Roboman: The Movie, Shahyd faced a unique challenge: crafting a score that would appeal not only to his fans but also to a broader, more diverse audience, particularly children and families. It’s a task that requires a delicate balance of creating music that is both emotionally engaging and universally accessible.

Understanding the need to keep his score appealing to a general audience, Shahyd delved deep into his creative well to compose music that aligns perfectly with the film’s tone. The story of Roboman: The Movie—filled with heart, humor, and adventure—demanded a score that could enhance its narrative and resonate with viewers of all ages. Shahyd’s approach to composing for this film was to blend his rock roots with a more melodic, whimsical style, creating a soundscape that is both endearing and memorable.

One of the standout elements of Shahyd’s work on Roboman: The Movie is the soundtrack. More than just background music, the soundtrack pieces are emotionally touching, with melodies that linger in the heart long after the credits roll. Each piece reflects the journey of the characters, from moments of joy and excitement to those of introspection and growth. The music becomes an integral part of the film’s storytelling, guiding the audience through the highs and lows of the narrative.

For Shahyd, composing for a family film was about more than just making beautiful music—it was about connecting with the audience on a deeper level. He wanted the score to be something that children could hum to themselves and that parents would find moving. His goal was to create music that would bring families together, allowing them to experience the film’s magic in its fullest form.

Shahyd Legacy’s venture into film scoring, particularly for a family film, highlights the versatility of his talent and his dedication to exploring new creative horizons. It shows that his music, whether in the form of electrifying guitar solos or touching film scores, is always evolving. With Roboman: The Movie, he has proven that he can not only rock the stage but also move the hearts of audiences in theaters.

On 26 September 2024, get ready to be moved, entertained, and inspired by the music of Roboman: The Movie—brought to life by the incredible talent of Shahyd Legacy.

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.

MAHARAJA: A Masterclass in Suspense and Emotions

Tamil film “Maharaja” (2024), masterfully penned and directed by Nithilan Saminathan, has mesmerized both audiences and critics. The film’s clever screenplay and multifaceted elements contribute significantly to its impact.

The narrative begins with a simple burglary, but the plot takes an intriguing turn when the protagonist, a mild mannered barber named Maharaja, portrayed brilliantly by Vijay Sethupathi, claims that his stolen “Lakshmi” is missing. This ambiguity hooks viewers instantly, leaving the audience to ponder whether Maharaja speaks of a literal valuable object or something more profound. Saminathan masterfully sustains this mystery, engaging viewers actively with the storyline.

The film’s non-linear narrative structure oscillates between the present, where Maharaja is on his quest to find his beloved “Lakshmi” and flashbacks that unveil his past. This dual approach not only builds suspense by leaving questions unanswered but also provides a deeper insight into Maharaja’s motivations. As his past unfolds, the audience witnesses the events that molded him and the emotional core driving his actions. This non-linear storytelling, though challenging at first, ultimately is rewarding as all narrative threads converge seamlessly.

While “Maharaja” fits within the thriller genre, Saminathan skillfully avoids a purely dark and gritty tone. The script injects humor through Maharaja’s interactions with a quirky police officer and several other oddball characters, providing comic relief without undermining the film’s seriousness. Additionally, the script explores Maharaja’s vulnerability, his love for his family, and the devastation wrought by the loss of his “Lakshmi.” This emotional depth adds weight to his actions, rendering him a more relatable protagonist.

The screenplay maintains suspense with well-placed twists and turns. Just as the audience thinks they have the plot figured out, the film surprises with a new revelation. These twists are not mere shocks; they naturally arise from the plot and character development. The climax, in particular, is lauded for its emotional resonance and the way it ties together all narrative elements.

Saminathan excels in using the power of suggestion and incorporating motifs and symbols throughout the film. Maharaja’s grief and rage are often conveyed through subtle expressions and actions rather than overt exposition. This technique allows viewers to connect with the character emotionally and engage actively with the story. This approach not only strengthens the film’s emotional impact but also fosters audience participation.

Initially, the missing “Lakshmi” serves as a McGuffin, a plot-driving object with no intrinsic value to the story. However, as the narrative progresses, “Lakshmi” evolves into a critical element tied to Maharaja’s past and motivation. It rises above the role of a simple McGuffin and becomes a Chekhov’s Gun. Similarly, other seemingly minor details introduced early in the film pay off later, foreshadowing future plot developments and solidifying the film’s tightly woven script.

The film features powerful performances by the lead cast, particularly Vijay Sethupathi, Anurag Kashyap as Selvam, the main antagonist, and the supporting actors. Sethupathi delivers a career-best performance, balancing vulnerability and intensity with finesse.

In summary, “Maharaja” (2024) stands as a masterclass in clever and engaging storytelling. It takes a familiar plot and elevates it through its unique structure, well-developed characters, and masterful use of suspense, humor, and emotional depth. The film exemplifies how filmmakers can employ various narrative techniques to craft a truly gripping cinematic experience.

Highly recommended.

P.S. The scene where Nallasivan re-enacts the robbery in Maharaja’s presence, along with the investigating police, and demonstrates how he strangled Maharaja reminded me of a powerful composition style Steven Spielberg used in his classic, The Color Purple, when Albert, engrossed in his newspaper, sees Cecile for the first time. Pure cinema magic.