‘Ronth’ movie review | Dileesh Pothan and Roshan Mathew anchor this quiet reflection on duty and disillusionment

A lot can shift in a day — especially when you're in uniform. 'Ronth', written and directed by Shahi Kabir, follows two police officers over the course of 24 hours. What begins as just another day on patrol slowly turns into something more — a quiet, revealing look at who these men are behind the badge.

Dileesh Pothan plays Inspector Yohannan, a man who’s been around long enough to know how the system really works. Roshan Mathew is Dinanath, a younger officer still learning the unofficial rules — not just how to do the job, but how to carry its weight.
Kabir, known for scripting police-centred dramas, takes a more introspective route this time. With 'Ronth', he isn’t chasing power struggles or action sequences. Instead, the film reflects on how systems shape people — how fatigue creeps in, how innocence fades, and how doing the job slowly alters the way one sees the world.

Inspector Yohannan is the kind of cop who’s seen enough to know what matters and what doesn’t. He’s pot-bellied, unhurried, and carries the job with a worn-in ease. Dinanath, on the other hand, is driven by a clear sense of duty — something Yohannan frequently challenges, often bluntly.

There’s tension between the two, but it’s never hostile. Their disagreements carry a strange sense of understanding, like two people looking at the same picture from opposite ends. Kabir weaves in elements from their personal lives, quietly drawing parallels with their work. Though they come from different backgrounds, there's a thread that connects them — whether by chance or design.

Dileesh Pothan is pitch-perfect as Yohannan, bringing calm precision to a role that feels lived-in. It’s easy to believe he’s been in the force for 25 years. Roshan Mathew delivers a nuanced performance — a flicker of hesitation at a crime scene, a moment of unease — his inner conflict never loudly announced, but always present. Kabir doesn’t ask the audience to sympathise with either officer; he simply invites us to understand them.

In a scene, Dinanath confronts members of a well-off local family, tense, reactive, and visibly uncomfortable. Yohannan steps in, steadier and more grounded, managing the situation without escalating it. He knows how to hold his ground without turning it into a clash.

That said, the film’s climax does feel a little too familiar, almost like a reworked version of 'Naayattu', which Kabir had written for Martin Prakkat. With both films building to a similar kind of conflict, the ending here loses some of its impact. As the tension builds, you expect the narrative to take a fresh turn, but it doesn’t quite get there.

Manesh Madhavan’s cinematography deserves mention — the misty, rain-washed visuals give 'Ronth' a moody, immersive texture. You’re drawn into the world of these two officers, walking beside them through the long day. Kabir also offers quiet insights into what shapes each officer, without spelling it out.

Lakshmi Menon makes a strong impression as Salomi, Yohannan’s wife, despite having limited screen time. Her presence is restrained, yet memorable.
While the plot builds toward a central conflict, the eventual payoff feels slightly underwhelming. But even with that, 'Ronth' remains compelling.
For those who’ve followed Shahi Kabir’s brand of grounded police dramas, 'Ronth' is worth a watch. It holds your attention from start to finish, with each small incident adding a layer to the whole.