Kaanekkaane Review: Riveting film with an argumentative interpretation of failures of inner voice

Kaanekkaane is not easy to use. It’s a level thriller but an unusual addition to the genre because the big revelation comes long before the climax.

The reason for this narrative structure is straightforward: mystery. Which is not initially thought of as a mystery, is at the heart of the plot. But at its core, the film is more about the tensions. That surround this element than the study of human psychology.

Directed by Manu Ashokan, whose debut film was a leading entrant in Parvathy Uyare (2019):

Kaanekkaane’s effectiveness hinges on a carefully measured, gradual reveal of its central trio. Manu and writers Bobby and Sanjay (who also wrote Uyar) are determined not to portray either villains or all-encompassing angels. Which is the whole meaning of the film.

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The source of its brilliance, but also its flaws. Specifies the equality between the two suggested characters. This controversial comparison requires lengthy discussion. Nevertheless, the film is captivating from start to finish. Not only as fiction but also through the moral questions it raises gradually.

It starts with a grey Paul (Suraj Venjaramoodu) buying chocolates, candles and matches at a roadside shop. The last one is to visit the graveyard, chocolate for his grandson Flea (Alok Krishna).

Then Paul arrived at a house, and a pregnant young woman opened the door. She approaches him with Papa, but she seems to know very little about him and is restless with each other. Little by little, we learn that she is Sneha (Aishwarya Lakshmi), the wife of Alan (Tovino Thomas). Who is previously married to the late daughter of Paul Sherin (Shruti Ramachandran), who died in an accident.

History calmly and hastily runs back and forth between past and present:

To establish Paul’s easy equations with Sherin. The father-son relationship between Paul and Alan. Paul’s search for justice for Sherin. How he and Alan fell asleep, Allen’s grieving tension.

And an inexplicable force is eating away at their relationship. Abhilash Balachandran’s direction and smooth editing ensure no apparent signs of these changes over time. However, noticing the changes becomes a fun and stress-free exercise.

Each scene adds a new piece to the puzzle as Ranjin Raj’s music adds. To the film’s mysterious atmosphere and a touch of intense sadness.

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Kaanekkaane is about how one can change a life forever. With a single decision and how guilt or resentment can engulf people. The attraction, drive and complexity of relationships. And how even ordinary people can be shocked. Even unusual, morally repulsive in times of weakness.

That brings us to the only problem with this film. Two people in Kaanekkaane sometimes misbehave for short periods. It’s not impossible to believe that real people could behave this way. But it’s worrying that storytelling requires equality of their actions.

The former is callous, complicated by a heap of lies. And progress towards the latter is not enough; the second is a momentary, reasonable, relative lack of conscience. With its accumulation, which, while not justifying us, helps us understand how it might have happened.

Forgiveness that finally comes depends on both being considered equally guilty.

They may have concluded, but the problem is that the film itself seems to be in its place. Bobby and Sanjay were the founders of Malayalam cinema, and up until this moment. When these two were equated by default, the story is perfect. Here, however, the convincing features seem to have been pulled to a more significant point that Kaanekkaane stands for.

It doesn’t support this turn of events that Sherin’s writing isn’t as detailed as the others. And her relationship with Alan isn’t as deep as the others. Even the sudden awakening of emotion and significantly improved sound design. In the final scene don’t match the tone of the previously lowered film.

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As this debate continues, it has to be admits. That Kaanekkaane plays attractively and beautifully at every turn. As usual, Tovino and Aishwarya are immersed in their roles. Making it difficult to judge their characters. While there are many different films, Kaanekkaane is a worthy continuation of the electric chemistry. Found on screen in Mayaanadhi (2017).