Narayaneente Moonnaanmakkal

Yes, the film is slow, and that is exactly what makes it special. Somewhere along the way, we have forgotten how to appreciate movies that take their time. We have lost touch with stories that feel real, filled with soft emotions, heartfelt conversations, and gentle storytelling. This movie is a quiet reminder of that.

It portrays the imperfections of life, capturing the layered nature of sibling relationships with subtle grace. It touches on the idea of forbidden love between cousins, though that is never the point. At its core, the film is about emotional drift - about how even the closest relationships can begin to feel unfamiliar, like something you once knew but can't quite hold anymore. It's a slow burn, carried not by grand events, but by warmth tucked between conversations, and the weight of what remains unsaid.

Loneliness is woven into the smallest of spaces. You sense it in Joju's character, who masks his ache behind bursts of wit and friction, in the girl who says she hates her mother but only ever wanted to be understood, and in Suraj's journey, shaped more by others' choices than his own. These moments never shout, but they linger long after.

The direction is beautiful, and the writing even more so. The film is filled with moments that feel genuine and unforced. The performances are strong across the board, especially that of Garggi Ananthan, who brings depth and honesty to her character.

In the end, the film leaves a soft sense of 'ranjish' in your heart. However, it does not hit hard, and perhaps that is why it struggled to connect with the theatre audience.

This movie had the potential to be a thought provoking family drama, but its unsettling romantic subplot completely overshadows any artistic merit it might have had. The film boasts strong performances and a grounded visual aesthetic, the choice to explore a romance between cousins is deeply disturbing and unnecessary.

The Good things first!

The actors, especially mention standout performances, delivered compelling portrayals.

The cinematography and background score create an immersive experience.

The film's initial setup of family conflicts had promise.

The Problem!!

Any positive elements are overshadowed by the film's questionable creative choice. The romantic relationship between cousins is not just uncomfortable but it feels forced and detracts from what could have been a meaningful exploration of familial bonds. It's a theme that adds nothing valuable to the story and instead alienates a large portion of it.

Final Thoughts - Good performances and direction can't save a film from a problematic narrative. Narayaneente Moonnaanmakkal leaves a sour taste, not because it's emotionally powerful, but because it crosses a line many viewers won't be comfortable with. A film should challenge audiences, but this one does so in a way that feels unjustified and unsettling.

⭐ Rating: 1.5/5 - Could have been a great drama, but the storyline ruins it completely.

Somewhere in the middle of the movie, we see a frame frozen for a few seconds, depicting a typical Kerala house with three brothers sitting quietly and discordantly. This frame epitomises the entire proceedings of the film. Narayaneente Moonnaanmakkal, meaning "Narayanee's Three Sons" in Malayalam, is a film without a real story, a beginning or a typical end. It is just a slice-of-life portrayal that takes us through a few days in the lives of a discordant family. It feels as if Director Sharan Venugopal set up cameras and sound recording devices in and around the house to showcase the candid happenings there as a feature film!

An old mother (Narayanee) is in her final stages of life on a ventilator. Her three sons, along with their families, come together to be with her in her last days, attempting to bury their past hatchets, at least for the outside world. As their wait unexpectedly prolongs, relationships and intentions unravel. This type of narrative is not new to Indian cinema in general or Malayalam cinema in particular. However, Malayalam cinema excels in this genre by keeping it real, devoid of stars, drama, punch dialogues, lewd comedy, or loud music. This film has none of these elements.

As days pass, apart from the relationship dynamics between the three brothers, there are fleeting references to quite a few other issues-interfaith marriage and its aftermath, caste conflicts in society, adolescent love and breakups, the fraught relationship between a mother and daughter, small-town idiosyncrasies, and the rebellious streak of today's youth, among others. Every character, including the ailing mother who doesn't speak a single word in the film, comes in shades of grey and are as real as possible, thanks to some outstanding performances by the entire cast and impressive camera work.

I am certain that outside of Malayalam cinema, actor Alencier Ley Lopez is not very well known. However, as a character actor, he ranks among the best in the country today, in my eyes. In this film, Alencier, as the eldest son, feels as if he has stepped right out of real life. His performance adds to his already impressive filmography in Malayalam, including films like Thondimuthalum Drikshakshiyum, etc. Suraj Vencharamoodu and Joju George, as the other two sons, deliver equally effortless performances with their restrained portrayals. Even with this heavyweight cast, the ones who stood out for me were Garggi Ananthan and Thomas Mathew, who play the roles of the adolescent kids in the family. Garggi's charming face and her permanently moist eyes serve as a perfect foil for her character in this film. Thomas, as a representative of today's youth grappling with their parents, love interests, and life's purpose, is simply fantastic. Without the stellar cast, this film's straightforward and familiar narrative would not have resonated as effectively.

Director Sharan introduces a very uncomfortable sequence that touches on societal taboos, which could be explosive in a society like ours. He quickly shifts the focus to the core theme, which is the nature of relationships between the three brothers. The screenplay, which moves at a slow pace until then, suddenly accelerates towards the end sequence, which cannot be called the climax, as there is none.

The Director leaves the conclusion to the viewers' imagination, but it is not difficult to infer what might have transpired. At another level, the film echoes the essence of another fine Malayalam film-Ullozhukku (Read My Flash Review here). With numerous undercurrents, this film could easily pass as a sequel to that film, featuring a parallel set of characters!

Narayaneente Moonnaanmakkal, streaming on Amazon Prime, is a must-watch if you appreciate realism in movies, as I do.

I have been looking forward to watch Narayaneente moonnaanmakkal the moment i saw Joju in the cast but still kept my expectations low and didn't watch the trailer , according to movie critic and youtuber Ashwant kok,one of the success of a movie lies in its ability to draw the viewer into its universe and keep you there without allowing you to drift out ,i whole heartedly agree with this view but kok seems not to be impressed with this movie by the debutante director Sharan Venugopal ,myself on the other-hand was immediately draw into the movie's universe , the cinematography is beautiful ,nothing fancy but it has its warm feel just as the movie demands ,the music and background score compliments well,checkout the aching soulful melodies of 'viral thodum',since time immemorial man is always searching he/she is reaching out towards the other who can somehow fill the void and this movie is a meditation on these themes , on love/separation the movie also touches on social issues centering on behavior of people which is rooted in deep bias and hypocrisy leading to some funny exchanges but it also points out that all this is furthering the misery towards others and themselves .... maybe we are all like that fish trapped in that bowl looking for that grand emancipation...

The film Narayaneente Moonnaanmakkal is a cinematic work belonging to the family drama genre, and was directed by Sharan Venugopal.

The film's narrative is focused on the three sons of Narayani, namely Vishwanathan, Sethu and Bhaskaran. The narrative recounts the reunion of these three siblings following a 24-year hiatus. Bhaskaran's departure from his familial residence was precipitated by his matrimonial union with a Muslim woman, Nafeesa. The couple have two children now, Nikhil and Tanuja. The gathering occurred in anticipation of the imminent demise of their mother. The film then proceeded to depict the relationship between the three brothers and the various confrontations that arose over the matter of a share of the wealth. The prevailing sentiment was that the mother's demise should occur at the earliest opportunity. It is an inherent human tendency to desire the return of one's personal belongings. The subjects paused their activities in order to attend this gathering. Concurrently, a profound relationship developed between Nikhil and Athira, Vishwanathan's daughter. Subsequently, this results in a confrontation between the brothers. The film evidently portrayed the typical dynamics of familial relationships and their respective commitments.

The narrative was of a high standard, and the direction was also commendable. The performances are of a similarly high standard. Musical scores are notable. This is a valuable resource for individuals who wish to watch the film once.