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The progression of the story is mundane and predictable.
Kumbalangi nights saji laugh gif series#
In the midst of her reign, a series of murders take place and her London return brother-in-law decides to uncover the truth behind the rumors that this is the work of a chudail (witch). A supernatural period drama, the film traces the life of a child bride as she matures into young woman presiding over a fragmented household. From Pari to Tumbbad, the conventional horror film has been transformed into a vivid display of mythology and fantasy, and now the latest edition to this list is Bulbbul. But lately, filmmakers are exploring different territories in this genre. Many of these tropes were directly lifted from Hollywood films and placed in an Indian setting leaving little room for innovation. Taking inspiration from Indian mythology and literature, these new-age films have left behind the conventional use of jump scares and ghosts in havelis, that dominated the narrative of early Indian horror. In the last few years, Indian filmmakers have reinvented the horror and supernatural genre for the Indian audiences. Despite its flaws, the excellent acting and editing make the film a worthwhile watch. Thus, Narayanan’s decision to edit in many close ups of the eyes during vital scenes, led to a larger emotional impact on the audience.Ĭ U Soon begins as an experiment but ends as a powerful romantic drama.
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Pain, anger, love, and a variety of emotions can be expressed solely through the eyes.
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It is often said that actors speak through their eyes. That included the swift movements between screens and the close up camera angles that highlighted the eyes of the characters. Mahesh Narayanan not only directed the film, but also conducted the visual editing for the film. There are many moments that his emotions take over as he realizes what he has discovered and in those moments, Fahadh Faasil excels. Kevin is the only character who has multiple scenes on screen on his own as he surfs through Anu’s data for clues. His character is an outsider who gets engulfed into the world of the young girl as he vies for the truth. The most powerful of them all was Fahadh Faasil. From Dhanya Rajendran’s portrayal of an emotionally drained girl caught in a never-ending struggle to Roshan Mathew’s performance as a love-struck boy, confused and frustrated by the web of lies surrounding him, every actor brings out the the emotions with a sincerity that requires stronger acting to make their presence felt on the small screen. Yet, despite being limited, the actors manage to emotionally enthrall the audience with their performance. None of the characters ever dominate the entire screen due to the nature of technological devices, and the illusion of portraying a computer screen. While the technology marvel is the central attraction in this film, it doesn’t overpower the storytelling techniques and raw emotions that build audience concern for the characters. Yet, this experimental venture is molded for the Indian audience, with a beautiful play on emotions through the dormant screens. The undertones of the film are reminiscent of the 2018 film, Searching, which had a similar format and an equally engaging plotline. The entire film plays out on the laptop and phone screens of the different characters, as the video call romance turns into a digital hunt for the truth. But due to the novel filmmaking and well sketched out characters, the unoriginality of the plot isn’t concerning. The concept of the film is extremely predictable and doesn’t leave much room for imagination. It’s a fresh take on a done-to-death story. When Anu (Darshana Rajendran) goes missing, Jimmy (Roshan Mathew) enlists the help of his tech savvy cousin, Kevin (Fahadh Faasil), to find the girl and unleashes a pandora’s box of secrets. Directed by Mahesh Narayanan of Take Off fame and starring Fahadh Faasil, Roshan Mathew, and Darshana Rajendran in lead roles, C U Soon is a romantic tech thriller that follows a young couple’s budding romance and the events that follow the disappearance of the girl. A one hour thirty-eight minute film, shot entirely on an iPhone, in eighteen days, during the lockdown in India, emerges as the latest achievement for the Malayalam film industry.