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Indian Express

Sarkeet movie review: Asif Ali, Orhan elevate Thamar KV film

Sarkeet movie review: One of the most intriguing qualities of Thamar KV as a filmmaker is his ability to craft a slow-burn drama using plot devices that many other directors would have simply used to create a thriller. It's not easy to resist the norms and the illusion perpetuated by the market that the commercial formula is the safest bet for success. In his debut film 1001 Nunakal (2023), despite having ample elements to turn it into a full-blown, edge-of-the-seat thriller akin to Jeethu Joseph's Mohanlal-starrer 12th Man (2022), Thamar took a different path. He treated the plot with restraint, creating a unique and memorable film that explored the complexities of lies and the consequences — or lack thereof — of absolute honesty among people who share close relationships. In his sophomore directorial venture Sarkeet, Thamar has adopted a similar approach, crafting another drama that also functions as a two-hander at times. The film follows a youngster and a boy on a much-needed outing that would allow them to blow off steam and escape the many issues they're grappling with. For Jeffron (Orhan), a child with severe attention-deficit/hyperactivity disorder (ADHD) — which causes difficulties with attention, hyperactivity and impulsivity — life is largely confined within the walls of his home in the United Arab Emirates (UAE), especially since he can no longer attend school. Once his parents, Balu (Deepak Parambol) and Stephy (Divya Prabha), leave for work, locking him inside a room in their flat, Jeffron is left alone with his imagination, which runs wild all the time. Though his parents love him, especially his mother, they are clueless about how to handle his condition, particularly during his outbursts. The most troubling part is that they don't even make the necessary effort to understand or support him, despite Stephy being a nurse with access to resources that could help them educate themselves. Whenever Jeffron throws a tantrum, they treat it as an isolated incident rather than part of a larger pattern, failing to address the root of the issue. Their inability to agree on how to manage his behaviour leads to frequent arguments between Balu and Stephy too, thus making matters worse. Meanwhile, Jeffron crosses paths with Ameer (Asif Ali), an unemployed youth who has arrived in the UAE with dreams of finding a decent job to improve his life and support his elderly mother back home. Jeffron and Ameer are then drawn into an unexpected sarkeet (jaunt) that ends up changing their lives forever. One of the major draws of Sarkeet, which also underscores Thamar's strengths as a filmmaker, is how visually distinct it is from 1001 Nunakal, a film that required an opulent setting in keeping with its backdrop. Take Jeffron's house, for instance: its interiors not only reflect how his ADHD manifests, but also subtly reveal the family's financial struggles — evident in the many items they've repaired or glued back together after Jeffron has broken them, rather than replacing them. Without relying on heavy-handed symbolism or dialogues, writer-director Thamar effectively conveys that the couple's marriage is interfaith; that despite the passage of years, their lives remain insecure; and that both are frustrated with their living conditions. In parallel, and without resorting to extensive exposition or melodrama, the makers also shed proper light on Ameer's living situation. Notably, Thamar's personal experience of having lived in the Gulf has added depth and authenticity to Sarkeet. The struggles depicted in the film, in particular, differ significantly from the stereotypical portrayals often seen in Malayalam cinema set in the UAE, adding to its overall beauty and emotional impact. Within Jeffron's home, too, Thamar avoids the clichéd tropes and exaggerated moments that makers often lean on when depicting marital discord or familial tension. Instead, he treats these dynamics with subtlety and depth, in a way that serves the narrative well. In one scene, Balu and Stephy are shown arguing loudly over Jeffron's behaviour. While most directors might depict the child as visibly distressed — or perhaps crying, Thamar offers a more nuanced portrayal. Here, Jeffron is seen in the background, jumping on the sofa, not paying attention to the conflict around him. In another moment, after Stephy informs Balu that she's pregnant, Jeffron accidentally breaks the tea glass his father is holding. Frustrated by Balu's muted reaction to the news and overwhelmed by everything that's happening — and all that lies ahead — Stephy lashes out and hits Jeffron many times before locking him in his room. She then calmly returns to the dining table, where Balu joins her, and they discuss the idea of adoption. Rather than resorting to theatrics, Thamar handles such emotionally charged scenes with restraint and realism, grounding the film in a naturalistic tone that feels familiar and authentic. His ability to gradually flesh out interpersonal relationships, without forcing characters into writer-convenient situations, is visible in this film. In fact, it isn't limited to Jeffron and Ameer; the dynamics between Balu and Stephy, Balu and his friend Pothan (Asanth), and Ameer and his friend (Swathi Das Prabhu) are also thoughtfully developed. At the same time, the arcs given to the central characters, particularly Ameer and Jeffron, are quite endearing, albeit predictable. While the writing, especially in the second half, comes across as overtly convenient, the heartfelt performances of Asif and Orhan and their compelling on-screen chemistry allow the audience to overlook these shortcomings to an extent. Another area where the writing falters is in its near-complete disregard for the many other characters once Ameer and Jeffron come together. Even those who appear later in the film feel like afterthoughts, particularly Ameer's father (Zhinz Shan), who was introduced in an impactful manner with Ameer even delivering an emotional line explaining their tumultuous bond. Also Read | Thudarum movie review: Mohanlal, Tharun Moorthy deliver a nearly flawless revenge thriller Asif Ali, as always, delivers a brilliant performance as Ameer. From start to finish, his portrayal only strengthens. Here, he once again showcases his exceptional ability to handle emotional sequences with depth and sincerity, leaving a lasting impression on the audience. Orhan is impressive as Jeffron and he carefully navigates a role that could easily have tipped into overacting. Deepak Parambol delivers a performance better than many of his recent dismal ones. Divya Prabha does a solid job as Stephy, although traces of her character Anu from All We Imagine as Light are visible in this portrayal. Aeyaz's cinematography, particularly in the shots with just Ameer and Jeffron and the entire space around them vacant as if they have only each other, amplifies the film's core themes beautifully. Sangeeth Prathap's editing complements this visual rhythm and elevates the narrative flow. Thamar's thoughtful choices on when to employ music and when to lean into ambient sound further enrich the atmosphere, allowing Govind Vasantha's music to emerge naturally and powerfully when it appears. Equally commendable is Vishvanathan Aravind's art direction. Sarkeet movie cast: Asif Ali, Divya Prabha, Orhan, Deepak Parambol, Remya Suresh, Prashanth Alexander Sarkeet movie director: Thamar KV Sarkeet movie rating: 3 stars Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More