Narayaneente Moonnaanmakkal

There is no plot in Narayaneente Moonnaanmakkal (The Three Sons of Narayani). Instead, it's a narration of a few days in the lives of the three sons as they get together at the wake of their mother's imminent death, not without the ghosts of their private and shared pasts. I had a peculiar (in a good way) feeling watching Narayaneente Moonnaanmakkal, with its mellow, meandering pace, performances that make it look like they're living it, and subtle music. It hit home with me because I've seen such family get-togethers get heated up personally, so it was a terrific watch. Save for one major story arc that seemed unwarranted, this film was worth it.

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.

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.

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...

This dysfunctional family drama treads pretty familiar ground, but the titular trio of leads (and their combined screen presence) makes it work. It's a slow-paced, unhurried film with a romantic subplot taking up a sizeable portion of the runtime; I believe the film should've stayed ultra-focused on the dynamic between the three sons over all else. The romance, while interesting in its own right, may leave you with a confusing aftertaste. Even when that's the case, the performances from the ensemble are downright solid (barring dialect issues). Appu Prabhakar's got a knack for capturing rural Kerala in all its glory. The music (by Rahul Raj) ranges between okayish to good. It's a good watch on the whole, and you'll remember the name Sharan Venugopal.