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1001 Nunakal

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1001 Nunakal Movie Review : A gripping drama on marriage & friendships

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mahesh nair padmanabhan 15 277 days ago

Very good movie. Good direction and script. Most of the actors acted very good

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'1001 Nunakal' film review: Stimulating, ingeniously constructed family drama

Have you ever looked at ‘happy’ pictures of couples on social media and wondered if they’re genuinely happy? Is either partner harbouring a lie of which the other isn’t aware? What if both are privy to some information that could cause -- to borrow a Vadivelu phrase -- “total damage” to both? I was recently discussing, with a friend, the subject of married couples whose partnership is built on lies -- how, in some cases, a secret revealed a decade or two later inflicts irrevocable trauma. I imagined the nightmare of the individual of either gender who suddenly faces the grim thought of dealing with the after-effects. How well do couples know each other? 

Some ardent cinephiles may be already familiar with the 2016 Italian film Perfect Strangers (or its numerous remakes), in which a bunch of friends get together for dinner one night and start a game where each has to place their phones on the table. The basic idea? To find out if one of them is cheating. (Recently, we saw a murder mystery variation of this in Jeethu Joseph’s 12th Man.) Both these films make one ask a thought-provoking question: Are successful relationships those where some truths are best kept hidden? Is being completely transparent practically possible?

Thamar’s 1001 Nunakal might invite comparisons to the above films on account of dealing with a similar scenario -- of couples caught in a truth-telling situation. But it’s also original as the treatment and plotting differ remarkably from the aforementioned films. In fact, I found it way more interesting than 12th Man -- I won’t tell you whether someone gets murdered or not -- and on par with Perfect Strangers with regard to the believability, the characters brought to their table, and how convincingly they sell their dynamic.

At the film’s mid-point, when these characters are already in the middle of the game, one character reminds the other that it’s better to continue it after putting the barbecue in their garden to work lest they miss out on the pleasures of it. It’s almost as though this barbecue is analogous to the ‘burn’ some of them are already feeling because, by that point, a few illusions get shattered, with increasing intensity. After all, it all began with an apartment fire, the butterfly effect of which impacts every character. 

Barring a few external scenes, 1001 Nunakal is primarily a chamber drama without a boring second, thanks to the competent turns from all the lead performers and the fluidity with which their conversations move from one scene to the next. I would’ve loved to mention every actor and the manner in which they wonderfully contribute to the film, but, I’m also wary of giving away anything considering how unpredictability seems to have been the primary intention behind the casting choices. The risk of preconceived notions is absent here and works to the film’s advantage. 1001 Nunakal functions like two movies -- or rather, one short movie and a big one -- with the conflict of one clashing with that of the second.

Interestingly, despite the close proximity of characters from both stories, the screenplay finds enough ways to subvert our expectations with regard to how everything pans out between them. Thamar makes the dynamic of one couple painfully evident in a short span while leaving everyone else’s a mystery.  All these characters are occasionally framed in tight shots to evoke a sense of oppression; despite the spaciousness of their wealthy host’s (Vishnu Agasthya) home, one begins to sense each character feeling stifled by their predicaments. The camera, like an unseen observer, is as eager to see everyone spill their secrets as much as the one who initiated the game. Even when one character speaks, every other character remains in our vision because reaction shots and wide framing ensure their compulsory participation. 

Out of all the performers, maybe I should single out the excellent Sudheesh Scaria for standing out as the advocate friend of the family who shows up as the personification of a truth serum -- the initiator of the game, much to the chagrin of all his friends who showed up that night and now wish they hadn’t. But at the same time, it wouldn’t be fair to dismiss this character as a ‘negative’ considering how he manages to pull off a soul purification process and, thereby, lightening the load of a character or two, regardless of how their lives would proceed after that one night. However, there’s an ambiguous quality to this character that can be a topic for a stimulating discussion.

As a whole, 1001 Nunakal is an impressive debut shot with the finesse of a veteran. It has as much -- or almost the same -- depth as the intense family dramas of Asghar Farhadi or, to take the example of a Malayalam cinema veteran, KG George, keeping in mind how the characters in their stories are visibly transformed -- for good or bad -- by forces not of their own making.

Film: 1001 Nunakal Director: Thamar KV Cast: Vishnu Agasthya, Sudheesh Scaria, Remya Suresh, Zhinz Shan Streamer: SonyLIV Rating: 4/5 

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Home » Review » 1001 Nunakal review: An intriguing drama that serves as a microcosm of modern Malayali marriages »

1001 Nunakal review: An intriguing drama that serves as a microcosm of modern Malayali marriages

The slow-burner indie drama leans on a few familiar plot devices but offers a fresh perspective on marriages through a new lens

Last Updated: 09.21 AM, Aug 18, 2023

Story: When an apartment building in the Middle East is destroyed in a fire, a few Malayali expats take sanctuary in their affluent friends’ sprawling mansion. With the hosts organising their 10th wedding anniversary party around the same time, more friends visit the mansion. Over the course of the function, one of the guests suggests a game where the couples confess their biggest secrets to their spouses. As one would expect, things quickly spiral out of control.

Review: Films set in a single setting often require a near-perfect screenplay to reel in the audience to be invested in the story from start to finish. Director Thamar K.V., on his feature film directorial debut, has delivered a compelling tale that explores the bedrock of Malayali marriages. The narrative weaves through relatable issues involving married couples — without exasperating the audience with an overindulgence exposition. It is an impressive effort from the writers considering the narrative rests heavily on dialogue between its vast ensemble. Each character is unique and pivotal to the overarching plot. There is a good mix of characters including a young progressive couple, an older conservative couple, an interfaith couple, and couples from various faiths.

Unlike most representations of marriages in Malayalam cinema, the film has veered into something closer to an authentic reflection of contemporary society. Of course, films since the 2010s have attempted to rectify flawed representations of marriages, while some have succeeded, others have fallen short. 1001 Nunakal has gone one step further by exploring Kerala’s vastly diverse society. And to the film’s credit, it has succeeded in doing the same through a captivating tale. While the shortcomings of being an indie project are evident at times, the film manages to overcome them with clever editing and camera work.

Sudheesh Scaria, who plays the role of a divorce lawyer, is essentially the unwitting manipulator of the game that spirals out of control. The game does begin with the youngest couple who each reveal relatively innocent secrets or lies about themselves. But as the other couples, the ones who have been married for a more extended period, begin to reveal their secrets, the game takes a more unrestrained turn. It signifies how secrets or lies carry more weight over time. The film also focuses on the maid of the household, Indu, played by Remya Suresh, whose loyalty to her employers is tested when she is forced to choose between her abusive husband and her kind employers. Through Indu, the narrative also highlights the plight of underprivileged women who are forced to conform to archaic societal norms.

Another interesting dynamic is the ideological conflict between the progressive newlywed Aleena (Vidhya Vijayakumar) and the conservative Salma (Shamla Hamza). They represent the tug-of-war between the old and the new in contemporary society, and the narrative does not take a neutral stance on the debate. The entire film navigates through the various issues that affect marriages across demographics. While the story does remain mostly grounded, it is guilty at times of elevating the melodrama ever so slightly.

Verdict: 1001 Nunakal is a taut drama that places Malayali marriages under the microscope. The slow-burner indie film leans on a few familiar plot devices but offers a fresh perspective on the subject through a unique lens.

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'1001 Nunakal' review: Nearly-perfect screenplay about Malayali marriages

Indian films have often explored the institution of marriage. Director Thamar KV's latest Malayalam release 1001 Nunakal also revolves around not one but many marriages. The story unfolds over two nights with an intriguing plot. The vast ensemble cast, a nearly-perfect screenplay, and powerful performances are what make it a good watch. Read our review of the movie.

When a fun game turns into a compelling drama

Set in Saudi Arabia, it's about two couples who move into their friend's residence for a few days. The hosts ask them to extend their stay by a few days for their wedding anniversary, wherein their other friends also join in. They eventually begin a fun game about revealing one lie they said to their partner, which soon takes a dramatic turn.

Writing explores nature of sweet lies and ugly truths

The strongest factor that makes 1001 Nunakal such a good watch is its screenplay. The director, who has co-written it with Hashim Sulaiman, keep it crisp and engaging. What is also interesting is how, through their writing, they have explored the merits and the de-merits of truth and lies. The dialogues breathe life into the film while the performances add more to it.

It's crowded with actors, yet each character shines through

1001 Nanukal has too many actors; it may give you the impression of a crowded watch. Yet, every actor has been given equal screen space which helps the characters to develop through the plot and shine bright. In scenes where the characters begin to reveal some dark lies, their emotions and the shifting moods make it a compelling watch.

Story, performances, and dialogues- everything makes it a must-watch

Though some of the stories of the couples do seem to be the ones that you have watched in the past, 1001 Nunakal is still different in many ways. Premiered on SonyLIV on Friday (August 18), it is 104 minutes in length. It's making for an entertaining drama with many undertones showcasing the everyday drama of couples' lives. Verdict: 3/5 stars .

Thousand and One Lies (1001 Nunakal, 2023) Movie Review – An Engaging film which Questions the Parochial Meanings of Truth, Lies, Deception and Trust

A false fabrication of twisted words with alternate meanings intended to deceive someone for personal gain or what they believe to be the ‘greater good’: commonly referred to as a lie. How dangerous is a lie? Why do we, as humans, as seekers of truth and justice, resolve to lie? What are its long-term repercussions? What does lying say about the liar? While generally taught that lying is bad, it is human nature to withhold the truth in certain situations that benefit oneself and sometimes for the sake of others. Lying represents fear. Fear of loneliness, rejection, embarrassment, and judgment. Thamar’s Aayirathonnu Nunakal (1001 Nunakal, Translated to Thousand and One Lies, 2023) explores these aspects surrounding lies and secrets to raising potent questions on the sacrifice of truth involved in forging and sustaining relationships.

Thousand and One Lies (1001 Nunakal, 2023) Plot

When a fire breaks out in their apartment building in Ajman, United Arab Emirates, Rajesh, and his family seek asylum with friends Vinay and Divya, along with Mujeeb and Salma, who encounter. Upon realizing that it is Vinay’s and Divya’s 10th wedding anniversary the next day, the three couples and along with two others and a mutual friend of theirs, decide to celebrate it together. The film follows the revealing of the many secrets shared amongst the couples and the personal revelations this results in as they reinvent themselves in the eyes of each other. It becomes a cathartic release of pent-up emotions and frustrations to some extent that is distasteful at times but eventually becomes healing and introspective.

1001 Nunakal is predominantly set in a single location and therefore demands a lot more from the screenplay and individual performances to carry the narrative and keep audiences engaged. With the main characters all being played by new faces and the director himself having his debut production, there was even more pressure on the screenplay to shine through. Mostly focusing on the dynamics between heterosexual couples; some in new relationships, some old, some created through an arranged marriage, and some antithetical to even the idea of marriage, the film provides various case studies on how gendered roles arise from the intersection of tradition, class and religion.

Also, Read: 25 Greatest Malayalam Movies of All Time

For example, in the case of Rajesh and Soumya, Rajesh is unemployed while Soumya works as a nurse. This tilts the gendered power scale in favor of Soumya is, the breadwinner of the family. Rajesh feels insecure as his stereotypical role as the masculine protector of the family is subverted due to his unemployment. In another instance, the husband of the couple invests extra time and effort to shower his wife with love and affection to make up for his inability to provide her with a child.

But as the story progresses, we are informed of how it is actually the wife who is unable to bear the child and not the inability of the husband. This causes psychological turmoil and a momentary loss of trust. The film is laden with many such events. Still, it seems to forward a narrative of how all such insecurities are usual in relationships and that it is human to err but that there is an overall need to be empathetic and understanding rather than being egoistic and vengeful.

The use of 6 couples allows the film to represent various social diversities as well. Out of the 13 central characters, we are presented with various regional slangs of Malayalam ranging from Kannur, Kottayam, and Thiruvananthapuram dialects. Despite focusing on Malayalee migrants in UAE, characters represent diverse cultural and class backgrounds from their varied upbringings in Kerala, which inform their divergent sensibilities as well. For example, Joshy and Aleena, the youngest couple in Vinay’s friend circle, embody a more progressive sensibility when it comes to marriage and the role of women in a family.

Aleena, the young feminist archetype, argues for women to exercise their right to divorce in a more aggressive manner and dismiss the role of women as ‘symbols of suffering and patience.’ Such outlooks do not sit well with Salma and Soumya, who justify the institution of marriage as customary, necessary, and eternal. This polarity, in my opinion, later contributes to the plot as it translates to distrust and even borders on ageism and misogyny at times. That being the case, it cannot be overlooked that Aleena’s opinions on the role of women seem to be more informed from tweets and social media posts than from active readership and textual citations, as her opinions seem to be half-cooked and without substance.

One of the characters that stand out the most is the domestic help working at Vinay’s residence, Indhu. While the main 6 couples all seem to represent middle or upper-middle-class characters, Indhu and her husband represent the struggling lower class who, despite their best effort to stick to moral righteousness, are resolved to commit theft and lie about it in order to ensure their survival. Class hierarchies and their accompanying power structure is vividly presented in the film but in a more nuanced manner rather than being coded as black and white. This nuance comes in the form of the trust that Vinay and Divya share with Indhu and how despite their friends accusing Indhu of engaging in thievery, Vinay and Divya support her without a doubt.

Also, Read: 10 Great Malayalam Movies to Stream on Prime Video

The film remains engaging on its own with its screenplay, but what really stands out is the technical qualities, particularly the cinematography and color grading. Much of the scenes are shot in depth with the character backgrounds blurred and possessing a yellow tint which to some extent resonates with their upper-class ‘richness’. When shooting indoors, all scenes have filled compositions that emulate the material wealth that characterizes Vinay as a successful businessman in an exuberant capitalistic place like the UAE, which makes the class divide between him and Indhu all the more evident. The film, unfortunately, suffers from comparison with many films that follow a similar structure but more so from Jeethu Joseph’s recently released 12th Man (2022), which follows similar cracks in trust and friendships but presents higher stakes and therefore ends up being more gripping when it comes to plot development.

But despite this, Thamar presents an interesting slice-of-life story of how ideas of truth and lies are very subjective concepts that cannot be inherently labeled as good or bad while parallelly presenting a narrative on the intercultural experience of living in the Gulf where people from different parts of the globe coincide for sustaining a transnational existence beyond parochial boundaries of nationalism, religion, culture, and most importantly, language.

Editors note : This review was initially published during the film’s International Film Festival of Kerala premiere. One Thousand and One Lies is now streaming on SonyLIV .

 1001 nunakal movie links – imdb one thousand and one lies (1001 nunakal) movie cast – remya suresh, vidhya vijaykumar, zhinz shan, trending right now.

Krishnanunni P is currently pursuing his Master's degree in Film and Literature from the University of York. He is an ardent fan of Football and Dance but also prefers to spend time immersed in Literature, Philosophy, and Cinema. He is on a personal pilgrimage to tell the artistic stories of Malayalam Cinema.

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1001 Nunakal

Close friends get together and have some good time over food and talks until one of them proposes a game: each of them has to reveal a lie that they have hidden from their partners. Close friends get together and have some good time over food and talks until one of them proposes a game: each of them has to reveal a lie that they have hidden from their partners. Close friends get together and have some good time over food and talks until one of them proposes a game: each of them has to reveal a lie that they have hidden from their partners.

• Thamar K.V.
• Hashim Sulaiman
• Remya Suresh
• Vidhya Vijaykumar
• Vishnu Agasthya
• 6 User reviews
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• Aug 19, 2023
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• August 18, 2023 (India)
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• Runtime 1 hour 44 minutes

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1001 Nunakal Review: When Confessions Go Wrong

Though the lies hardly go beyond extramarital affairs and conception problems, they are laid out by arresting storytellers who raise the stakes while speaking in tongues not wiped clean to make progressive points (No Made in Heaven -type diddling, here), notes Sreehari Nair.

O Scheherazade, what's your lie?

Come to think of it, this is the sort of storyline that Jean Renoir and Robert Altman specialised in: People gathered around for an event or a celebration, and the clash of personalities that follows.

But whereas Renoir and Altman had a sense of balance and proportion, and they turned the 'carnival' genre into a source of rich, satirical comedies, an air of faux-solemnity has begun to pervade the genre of late.

While Monsoon Wedding may be an exception to the rule, most films of this category are like Rahul Chittella's Gulmohar , which seemed defiant in its belief that lurking in the background of every get-together of every happy family are dark secrets waiting to tumble out.

In the course of such narratives, somebody or other becomes aware of his own illegitimacy, somebody owns up to her sexuality, a token pedophile emerges from the shadows, and the glum-faced critic gets his chance to proclaim that the film 'takes the shine off our sacred institutions'.

In truth, there's nothing like the pleasure of a superbly calibrated performance to discover in the carnival films of today, and their preciosity often becomes too much to bear.

Let me also add that contrary to the glum-faced critic's assessment, these films do not hurt our sacred institutions in the slightest. If anything, they provide the comfort of soap opera gossip under the guise of cultural purification.

All this by way of introducing Thamar K V's Malayalam film, 1001 Nunakal ( 1001 Lies ), which is the work of a talented film-maker, though hampered in part by the recently acquired bad habits of the carnival genre.

Thamar sets up the film with an original eye, in the UAE of sanitised streets, fast-food signs lettered in Arabic, order and discipline, an overall whiteness.

The milieu for the carnival is the 10th anniversary of a rich UAE-settled Malayali couple, not ostentatiously rich but well-to-do nonetheless, their mansion an endorsement for the term 'casual swank'.

At this mansion arrive old friends, three other married couples and the demoniac presence in the group, a Bluto-like divorce lawyer who wishes to see the dirt behind the primly dressed souls. Soon Bluto proposes that the couples play a game of truth-telling, or better yet, of lie-busting.

Admitting to your spouse a lie you had said in the past, and that too in front of a large group, is not just masochistic but also kind of dumb; and the assembled characters do not suggest enough quirk of personality.

What's more, there is no history of togetherness that comes through in their back-and-forth.

The ribbing and the jousting are quite glib.

The catcalls are devoid of everyday poetry, they lack the rhythm of unvarnished daily-speak.

I even wondered at one point: How could a bunch of Malayalis have kept their friendship alive over banters so anemic?

And yet, things slowly start to simmer and gain in pungency.

They may come short in the matter of establishing a believable group dynamic but the actors are all competent. And though the lies hardly go beyond such standard tropes as extramarital affairs and conception problems, they are laid out by arresting storytellers who raise the stakes while speaking in tongues not wiped clean to make progressive points (No Made in Heaven -type diddling, here).

Besides, each couple convinces you that they are indeed a couple, sells the idea that they are stewing in the marital cooker of small frustrations and dashed hopes -- and that goes a long way in sustaining your interest.

You are invested also because this happens to be a story fought on many fronts. The couples play 'confession', moving from the hall-room to the garden, from drinks to barbecue, while the maid is putting away the dirty dishes one by one and worrying about her husband who is badly in debt and threatening suicide.

The contrast between the bored rich, engaged in their callous games, and the plights of their butlers and cooks, trapped in life-and-death situations, is a time-honoured staple of the carnival genre. In this case, however, the maid turns out to be so much more than an upholder of staples: she illuminates the film from the kitchen out.

Yes, some of the finest scenes in 1001 Nunakal are those involving the wound-up maid and her hustler of a husband. These are the scenes to watch out for, where the writing touches the sublime, where grungy truths are revealed to us through fleeting details.

The first time we meet the suicidal husband, he is in a grand-seeming vehicle, discussing business deals. The maid shuffles in, and as they get ready to drive off, the camera pulls back and we see that the grand vehicle is actually a pickup truck.

Such is their chemistry, expressed through economical gestures and in the interstices of casual talk, over gritted teeth and banana fritters.

Stopping at a friend's snack joint, he asks her if she would like to have some fritters and she, calculating in her head the money that stands to be wasted, says no. He then walks out of the joint inhaling the fritters, which he says were essentially leftovers, and you can feel her disappointment at having turned down those free bites.

The movie has stretches like the aforementioned one, full of fresh perceptions, and they are propped up in large measure by Remya Suresh, who plays the maid.

She is one of those great practitioners of actorly control, somebody who gives you the impression that she might tip over into melodrama anytime -- but who never tips over.

Remya Suresh is so good that when she cries, she ends up exposing the hollowness of the too-swoony background score, which has a difficult time catching up with her.

And Zhinz Shan, the pickup-truck-hauling husband, is just as authentic, infusing into his gingery movements the remnants of a life lived on the edge. Together, they are like the innkeepers of Les Miserables made real, a surrogate for every away-from-their-roots couple, penny-pinching and window dressing, all the while holding onto their dream of 'someday going home'.

Such echoes that he effortlessly generates are what work in Thamar K V's favour; they are what provide you with layers of enjoyment that transcend the plot.

There's a building fire at the start and later a barbecue fire that's slowly stoked, and if you think about it there's quite a bit of flickering and raging that happens before the evening comes to a close.

The revelations don't singe and the aftershocks are too easily rationalised (Invoked more than once is that mother of all clichés: 'Nobody's perfect'), but as the game motors on, the lies that the characters confess to having said themselves get questioned.

'Is she honest about her lies or is she making them up to get through the evening?'

That becomes the overriding mystery.

It ties into the mystery of good old Scheherazade making up tales to escape the wrath of her savage husband, and you are reminded, yet again, that you are in the magical land of Arabian Nights .

1001 Nunakal may not be a great movie but it offers intimations of future greatness.

1001 Nunakal streams on SonyLIV.

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M ORE C AST & C REW

• Salim Ahamed
• Music Director:
• Yakzan Gary Pereira
• Nishad Yusuf
• Hashim Sulaiman
• Screenplay:
• Costume Designer:
• Gayathri Kishore
• Vishnu Agasthya
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• Jithin Stanislaus
• Casting Director:
• Jijoy Rajagopal
• Sudeep Koshy
• Sudheesh Scaria
• Sajin Ali Pulakkal
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• Anuj Sekhar
• Shamla Hamza
• Anusha Shyam
• Remya Suresh
• Niiniin Kassim
• Vidhya Vijaykumar
• Art Direction:

The story starts with the building catching fire where Rajesh, his wife Soumya, and their children, Mujeeb and his pregnant wife Salma are staying. So, they decided to temporarily shift to their friends, Vinay and Divya’s house, till they don’t find somewhere permanent to stay. The next day when they arranged a hotel and decided to leave Vinay and Divya insisted them stay back for the night as it was their 10 th marriage anniversary, and they wanted to have a small party with some close friends over. Indu works as a maid in Divya’s home, Anil, her husband is on the verge of getting sent to jail for defaulting on the loan and asks Indu to somehow arrange money for the same. While the party was going Vakeel challenged everyone to reveal a lie and heavy secrets were revealed during the game. Meanwhile, Salma finds a photo of a girl in Mujeeb’s bag. Who was that girl?  What were the secrets that were revealed in the game? Did Indu manage to arrange the money? The rest of the story revolves around these questions.

Star Performance

The film provides unique and distinct identities and voices to each of the characters that don’t resemble each other. It may seem crowded yet, every actor has been provided with equal screen time to develop the storyline. Though the cast was all quite new to the industry, they all pulled up the storyline certainly and accurately.

The movie is a slow-burning mystery drama that gradually unravels its core premise. The plot seems extremely simple, yet electrifying with the explosions that the film provides. The lies told by each of the characters in the film and its outcomes are the main storyline of the entire film. The movie concludes that a marriage begins with a thousand lies and can sustain with a thousand and one lies, that’s what inspired the title of the movie. The film vividly depicts the structures of class and the power that comes with it in a way that is depicted with complexity and falling into the traps of being didactic.

What’s There?

• Engaging plot
• Entertaining characters

What’s Not There?

• The climax could have been better

Overall, it is a decent story, it follows a chain of lies and deceit, with a well-packed emotional drama. The movie is quite an entertainment and timepass if you like drama then you are going to love the movie.

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• Home » Movies » Aayirathonnu Nunakal Movie Review

Aayirathonnu Nunakal review: An intriguing movie made with a perfect blend of emotions and good writing

Thamar KV's directorial debut adopts a realistic approach to highlight the couple issues and the inner feelings of people.

Published:Aug 19, 2023

A poster of the film 'Aayirathonnu Nunakal'. (Supplied)

Well-written and executed.

Aayirathonnu Nunakal (Malayalam)

• Cast: Vishnu Agasthya, Vidhya Vijayakumar, and Remya Suresh
• Director: Thamar KV
• Producer: Salim Ahammed
• Music: Neha Nair, and Yakzan Gary Pereira
• OTT platform: Sony Liv
• Runtime: 1 hour 44 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Aayirathonnu Nunakal (1001 Lies) is the story of a group of friends in Al Khobar, Saudi Arabia.

What makes this movie interesting is the realistic approach towards relationships, how couples hide some of the truths among the duo, and the repercussions they face after those truths are revealed.

The film was initially screened at the International Film Festival of Kerala (IFFK) last year.

Directed by debutant Thamar KV, Aayirathonnu Nunakal is now streaming on Sony Liv.

It is similar to Mohanlal-Jeethu Joseph’s mystery film 12th Man (2022) where the couples are put in a spot to play the “Truth or Dare” game.

A picture from the location of ‘Aayirathonnu Nunakal’. (Supplied)

Aayirathonnu Nunakal starts with a residential building catching a fire.

Two couples — Rajesh (Sudeep Koshy), Soumya (Anusha Shyam), Salma (Shamla Hamza), and Mujeeb (Sajin Ali Pulakkal) — take a rescue at a mansion owned by their friend Vinay (Vishnu Agasthya) and his wife Divya (Ninin Kaassim).

The two families lose most of their belongings in the mishap and their distress is evident from their conversation.

Vinay and Divya ask the couples to extend their stay as they’re celebrating their 10th wedding anniversary the next day.

The plot gets interesting as more friends join the anniversary celebrations.

During the party, as a part of the “Truth or Dare” game, Vakeel (Sudheesh Scaria) asks every couple to reveal the lies that they have hidden from their partners.

The couples are initially reluctant to play the game, but Aleena (Vidhya Vijayakumar) and Joffy (Noufal Rahman) start the game by sharing some incidents. However, the couple takes the lies jovially.

But then, as the other couples start revealing theirs, the real trouble begins.

Also Read: ‘Prem Kumar’ is a hilarious tale of an unfortunate groom 

A game of truth.

‘Aayirathonnu Nunakal’ has an interesting plot. (Supplied)

The incident narrated by Benzy (Rashmi K Nair) couldn’t have been accepted by any partner as she reveals something about her being childless. This really pains her husband Elvin (Sooraj K Nambiar).

The mood of the party gradually changes as more and more truths are revealed by everyone.

The revelation of Mujeeb that he had a lover turns out to be a real problem for him as his pregnant wife Salma couldn’t take it in the right manner.

When Rajesh, a jobless man, reveals an incident that he hid from his wife, it turns into an ego problem.

In a nutshell, the Truth or Dare game, which is meant to be played for fun, becomes an issue in itself.

Meanwhile, Anil (Shinz Khan), the husband of Bindu (Remya Suresh) who works as a maid Vinay-Divya’s house, faces some financial trouble in his office.

With a view to helping him, Bindu steals an expensive item from Vinay-Divya’s house. But will that help her solve Anil’s issue? It will be a major spoiler if revealed.

Well-written script

Vidya Vijayakumar as Aleena in ‘Aayirathonnu Nunakal’. (Supplied)

Aayirathonnu Nunakal has a well-written script by Thamar and Hashim Sulaiman.

The story deals with the inner feelings of a person living abroad. In an interview, the director stated that he attended such get-togethers in Abu Dhabi.

A jobless husband and the ego issues he has because of his working wife, the tale of a newly-married couple, the issues faced by a childless couple, trust issues that arouse after a partner reveals his lost love, and the tale of a successful couple are some of the takeaways of this movie.

The script is not too dramatic. The fights between couples seem realistic and all actors perform really well.

The movie serves as an eye-opener as it makes people think if it’s needed to reveal every minute detail of one’s life to one’s partner. The film warns that the truth may sometimes hamper one’s peace.

Performances

Aayirathonnu Nunakal has a host of newcomers who did a good job.

Vidhya Vijakumar as Aleena, a young woman who dares to stand for women, is impressive.

Sudheesh Scaria plays an important role as the vakeel/advocate and appears like a true professional.

Vishnu Agashtha gives his best in his role as Vinay.

Remya Suresh and Shinz Khan as the couple with financial problems are apt.

Shinz Khan makes a mark yet again after the web series Kerala Crime Files (2023).

Shamla Hamza shines among others.

Also Read: Dhyan Sreenivasan’s ‘Jailer’ works only in parts

Technical aspects.

On the technical front, Ashik S’s art direction elevates many scenes in Aayirathonnu Nunakal , since it is majorly set in a mansion.

Jithin Stansilaus’s cinematography gives a different hue to the film.

Editor Yusuf’s editing did justice to the movie which is of 1-hour-44-minute duration.

The background score by Neha Nair and Yakzan sets the right mood for the plot.

Aayirathonnu Nunakal is an overwhelming movie that dwells on the lives of married couples. It makes the audience think seriously about relationships.

(Views expressed here are personal.)

Tags:  

• Entertainment
• Malayalam cinema
• Movie review

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'Aayirathonnu Nunakal' review: Slow-burning mystery drama on unmasking lies and testing bonds

'Aayirathonnu Nunakal' unfolds as a slow-burning thriller under the direction of Thamar KV. Echoing the narrative style of Jeethu Joseph's Mohanlal-starrer '12th Man', the film delves into the lives of a close-knit group of friends living in the gulf whose inadvertent gathering cascades into a series of tumultuous events.

In '12th Man,' the plot centres around a murder, while 'Aayirathonnu Nunakal' hinges on the deepening conflict among friends, ignited by the shadows of past lies.

A blaze in their apartment prompts Rajesh, Soumya, Mujeeb, and Salma to stay at Vinay and Divya's home. Their circle expands, welcoming more friends and a lawyer. The script is precise, and skillfully helmed by director Thamar, who adeptly keeps the narrative aligned with its core.

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Is there really a need to unveil past lies among couples? The movie explores the intricate dynamics and social repercussions that surface. With most characters being newcomers, the audience benefits by not favouring any single persona.

The movie dissects diverse couples and their ego-driven clashes, shedding light on their workings. That being noted, the movie refrains from sporadically sprinkling mystery. Rather, it invests time in gradually unravelling its core premise. Running parallel is a subplot involving the housemaid and her husband. In a departure from conventional approaches, the film forgoes a murder-centric mystery, opting instead for the intrigue generated by the past's unsettling truths.

In terms of performances, the entire cast delivered commendable acts, with standout portrayals by actors such as Remya Suresh, Vishnu Agastya, and Shamla Hamza. Unlike in '12th Man', the actors' performances in 'Aayirathonnu Nunakal' exude a sense of authenticity and avoid melodrama. The film's actors have masterfully portrayed subtle and lifelike emotions, while the story intriguingly refrains from overtly cautioning against the impact of lies, leaving audiences with an open-ended reflection.

Both halves of the film maintain a compelling pace, ensuring an engaging experience without any noticeable lag. However, the subplot falls slightly short in terms of charm. Thamar's 'Aayirathonnu Nunakal' is undoubtedly a commendable effort, although a bit more focus and sharpening around the edges could have elevated its impact. Nevertheless, it stands as a solid option for enjoyable OTT viewing.

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Thamar kv’s drama, premiered at the international film festival of kerala in 2022, will be out on sony liv on august 18..

• Aayirathonnu Nunakal trailer