‘Bha Bha Bha’ heads to theatres, carrying the weight of a moment

When ‘Bha Bha Bha’ releases in theatres on  Thursday, it will mark actor Dileep’s first film to arrive after the Ernakulam Principal Sessions Court acquitted him in the 2017 actress assault case. The release, however, unfolds in a public atmosphere that remains unsettled in the wake of the verdict.

In recent days, reactions to the film have extended beyond the usual rhythms of pre-release chatter. Calls for boycotts have resurfaced and these are accompanied by small but telling moments of protest. In one widely discussed incident in Thiruvananthapuram, a woman objected to the screening of Dileep’s popular film ‘Parakkum Thalika’ on a bus. She asked the conductor to stop the film amid reactions from fellow passengers. The episode, shared widely online, became a snapshot of how the actor’s presence on screen continues to provoke strong responses.

The trailer release of ‘Bha Bha Bha’ further sharpened the conversation. Dubbing artist Bhagyalakshmi, who has consistently voiced support for the survivor, publicly questioned actor Mohanlal’s decision to share the film’s poster. Speaking to Onmanorama, she framed her criticism around what she saw as a moral contradiction. She argues that the public expressions of solidarity (with the survivor) cannot easily coexist with professional collaboration (with actor Dileep). She also pointed to the film industry’s long-standing dependence on commercial imperatives and the ‘rule of money.’
Dileep’s career trajectory adds another layer to the moment. Once among Malayalam cinema’s most bankable stars, with films such as ‘Meesa Madhavan,’ ‘CID Moosa,’ ‘Kalyanaraman,’ and ‘Kochi Rajavu’ defining his commercial peak, his standing changed sharply after he was named an accused in the case. ‘Ramaleela,’ released soon after his arrest, suggested that his box-office appeal had not entirely faded. Yet several subsequent films like ‘Pavi Caretaker,’ ‘Voice of Sathyanathan,’ and ‘Prince and Family’ struggled to connect with wider audiences.

The makers of ‘Bha Bha Bha,’ however, appear undeterred. Pre-release ticket sales have reportedly crossed ₹1 crore in an apparent indication that controversy does not automatically translate into commercial resistance. The film also brings together a sizeable ensemble cast, including Vineeth Sreenivasan, Dhyan Sreenivasan, Baiju, and Sandy.

Film critic C S Venkiteshwaran sees the moment less as a moral standoff than as a convergence of competing forces. Cinema, he argues, operates simultaneously as business, cultural expression, and audience experience. Commercial logic often explains collaborations that draw criticism. Online outrage does not always mirror ticket sales. He says films are judged and consumed on their own terms, even when viewers remain conflicted about the individuals involved.
Now, ‘Bha Bha Bha’ reaches cinemas not as a neutral release. It is sure to be one gilded by an unresolved public conversation. The film enters a space where law, memory, commerce, and conscience intersectIn that space, once again, like cinema, certainty remains elusive even after a decisive verdict has been delivered.