'Sarvam Maya' review: Nivin Pauly fronts a modest, sincere fantasy

Nivin Pauly’s latest release, ‘Sarvam Maya’, which translates to Everything is an illusion, announces its intent right from the title. The film blends comedy, fantasy, and a steady dose of feel good warmth, but does so without leaning on familiar Malayalam cinema crutches. This is not a mass hero vehicle, nor is it designed as a loud comeback statement. Instead, it chooses something quieter and, in many ways, more refreshing.

Directed by Akhil Sathyan, ‘Sarvam Maya’ follows Prabhendu, an atheist Hindu priest played by Nivin Pauly, a contradiction that immediately makes the character interesting. Prabhendu’s life takes an unexpected turn when he encounters a fantastical presence, a spirit that nudges him into questioning his beliefs and his emotional detachment from the world around him. The film’s premise might remind viewers of Fazil’s ‘Vismayathumbathu’, starring Mohanlal and Nayanthara, but while the thematic overlap exists, the storytelling choices here are distinctly different.

What sets ‘Sarvam Maya’ apart is its refusal to turn its protagonist into a saviour figure. Prabhendu is not heroic in the conventional sense. He is hesitant, scared, occasionally confused, and most importantly, reasonable. One telling moment comes when he is asked to perform a ritual for a young boy who claims to hear voices. Before invoking faith, Prabhendu asks the child’s father a simple, logical question. Did you consult a doctor? That single line quietly defines the film’s worldview and the kind of priest Prabhendu is.

The film’s biggest strength lies in its character dynamics, especially the chemistry between Nivin Pauly and Aju Varghese. Together, they bring an easy warmth to the screen, anchoring the film’s humour. The comedy does not aim for laugh-out-loud set pieces. Instead, it settles for gentle amusement, situational wit, and character-driven moments that keep the narrative pleasant and flowing.

Akhil Sathyan’s handling of the fantasy elements is largely effective. By treating the supernatural as something ordinary, almost mundane, the film avoids unnecessary spectacle. This approach worked beautifully in his earlier film ‘Pachuvum Athbutha Vilakkum’, which leaned into classic Sathyan Anthikad style feel good cinema. In ‘Sarvam Maya’, the director attempts a slight tonal shift, trying to modernise that sensibility. For the most part, it works, though the second half occasionally stretches the feel-good beats a little too far, making them feel forced rather than organic.

Nivin Pauly is undeniably the soul of the film. There is a lightness to his performance that reminds audiences why he was once considered one of Malayalam cinema’s most charming stars. He does not overplay the vulnerability, allowing the character to breathe. Producer Riya Shibu delivers a commendable performance in a role that could have easily slipped into cringe territory. Instead, she keeps it restrained and effortless. Preity Mukhundhan, while charismatic, is let down by an underwritten role that offers little beyond screen presence. Janardhanan adds value to the film, using restraint and timing instead of obvious punchlines to bring the humour through.

However, ‘Sarvam Maya’ is not without its flaws. The narrative becomes predictable as it progresses, often opting for spoon feeding when subtlety would have served it better. As the story moves into a more emotional register in the latter half, it begins to follow a familiar template, slightly weakening the emotional impact.

Yet, despite its narrative shortcomings, ‘Sarvam Maya’ holds together because of its performances and its sincerity. It may not be groundbreaking, but it is gentle, well intentioned, and anchored by a lead performance that feels like a warm reminder rather than a grand return. In the end, the film mirrors its title. Life, faith, fear, and belief are all a little illusory, and sometimes, accepting that ambiguity is enough to find comfort.