‘Theatre: The Myth of Reality’ review: Rima Kallingal brings quiet strength to a reflective film

In an isolated village in coastal Kerala, a young woman Meera (played by Rima Kallingal), and her elderly mother lead simple lives - untouched and unbothered by the life in the mainland. They are the protectors and sole inhabitants of the island, where they offer daily prayers to the Nagadevams (serpent gods), to whom they owe their existence. Their beliefs are central to the narrative of the movie directed by National Award-winning director Sajin Baabu.

Interestingly, this isn’t the first time Sajin has explored religion as a central theme in his films. In his earlier work Biriyaani (2019), a woman is trapped in a patriarchal Muslim family. Here the filmmaker attempts to understand how faith functions as a regressive time machine that imprisons women in the dungeon of medieval thinking. In ‘Theatre’, faith is up against a formidable adversary: modern science. Both these films put women in the forefront, discussing the biases against them, though both  lead far contrasting lives.

Compared to his earlier work, Sajin adopts a more restrained and measured approach in this film, which has lesser shock elements. Remember that haunting scene in Biriyani where Kani Kusruti’s character prepares a feast mixed with her own fetus? 

‘Theatre’ is bold in a different way. It tries to tackle tricky subjects like religion and science- without being too preachy or judgemental in its outlook. When Meera’s mother continues to rely on traditional remedies even as her daughter battles a near-fatal infection, it's hard to condemn them for refusing modern medicine. Afterall, they come from a lineage of renowned vishavaidyars (traditional medical practitioners of snake bites), using herbs grown on their native land to save countless lives.

‘Theatre’ also tackles other subjects like the influence of social media in day-to-day lives. Though these two women live in isolation on a remote island—it's only two voters—they are suddenly thrust into the spotlight by the persistent, intrusive gaze of a social media influencer. Drawn by the village’s ethereal beauty and the mysterious lives of its residents, especially Meera, he sees an opportunity for viral fame and online recognition.

When a video of Meera climbing a tree unexpectedly goes viral, he remains unaware that he is becoming the very vehicle through which public attention is drawn to the incidents that take place afterward. It is this sensitive, two-dimensional portrayal of various situations that is one of the highlights of Sajin Baabu’s ‘Theatre: The Myth of Reality'.

The film also delves into themes of sexual exploitation, sexual liberation, and nudity with a certain boldness. While the portrayal of sexual exploitation follows a familiar trope, what stands out is the nuanced depiction of a mother coming to terms with her daughter's sexual desires. This moment is both unsettling and thought-provoking.

Rima’s performance as Meera feels real — portraying a woman who prefers to remain hidden and unseen, even as she moves about her daily tasks. She perfectly plays a woman resigned to her fate — committed to her mother, one of the reasons why she never chose to get married and leave the island. Some of the incidents will remind you of her convincing work in director Aashiqu Abu’s film ‘Virus’ as she played sister Lini with conviction. Rima

Sarasa Ballussery delivers a career-defining performance as Saradhamma, the mother, bringing depth and emotional resonance to the film. Her portrayal anchors some of the most powerful and moving moments in the narrative. The performances of Dain Dennis, Pramod Veliyanad are also noteworthy. The music by Saeed Abbas and the cinematography by Shyamaprakash also elevate the viewing experience. Overall, the film thoughtfully explores a range of themes, provoking reflection while maintaining a strong grip on the viewer’s attention.