The number of people who’ve been murdered just keeps increasing. And every time you see a wall, there’s an extra photograph. Similarly, the walls of the houses are filled with pictures of those who have been murdered from the family. It’s only after she dies, the window opens. For example, an old woman wants to keep the window closed at all times, as if she doesn’t want any outside air to enter and clear the metaphorical cobwebs in her head. It’s very easy to get into the headspace of the characters, and even the props seem to have their own little headspaces to invite us into. They may be using a gun now and a knife earlier - but eventually everything is circular in this film. It’s not overexplained, because you just take a look at the situation and people’s faces, and you kind of mentally know what’s happening. Maybe, this sets him apart as one of those people in whose veins the blood of vengeance isn’t flowing because he’s actually a nice guy.Īnother point I really liked was when Anna gets a gun. He’s not doing things that people invite him to do. When his uncle offers him booze, he says that he’s quite happy and doesn’t want to. When others are bathing in the village pond, he refuses to get inside when they invite him. For example, Johnny doesn’t seem to be much of a joiner in events - he’s his own little person. The film is filled with lovely, gentle touches that let us into the characters without telling too much. But then, he may have changed but those who want revenge for what he did haven’t. He even goes to the extent of apologizing to those affected by his actions.
For example, the uncle from jail is genuinely atoning for what he’s done. The film has been filled with tragedy till then and it now becomes even more tragic. The same tea shop owner later becomes the first person to spot another man coming through that long road. He comes by a long road at the side of which there’s a tea shop owner. There’s something cyclical about his return. The shit really hits the fan when an uncle of Johnny comes back to the village after he’s released from prison.
He wakes her up in the middle of the night when he’s having a recurring bad dream, and she’s not able to let go of the fact that one of his family members killed one from hers.
There are no conventional romantic scenes, and even the scenes between Johnny and Anna seem to be troubled.
He takes the love story for granted and pushes it to the background. But what the director does here is very interesting. In a conventional film, one side would do something and then the other side would retaliate, and so on. This is a classic Romeo-Juliet story where two people Johnny (Basil Paulose) and Anna (Vinitha Koshy) from two warring families fall in love.
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