Indrans leaves a mark as 'Aashaan' in an experimental film that celebrates, critiques cinema

Filmmaker Johnpaul George, acclaimed for ‘Guppy’ and ‘Ambili,’ has returned with his next film 'Aashaan', featuring Indrans in the lead. The movie, just like his previous works, deals with egos and human conflicts, but this time brings us closer to the harsh realities of the film industry, when a film crew arrives at a residents' association to shoot a movie.

'Aashaan', in a way, pays tribute to Malayalam cinema and the difficulties of making movies, with limited space, time, and budgets. In this way, it does not sugarcoat these truths, although most of the conflicts and struggles are presented humorously. Rather than tracing a conventional rise-to-cinema narrative, the film is largely contained within a single location, unfolding almost like a bottle movie. The location—a 21-storey building (with several apartments) shaped like a well—sits at the heart of the narrative, where every sound, from the grinding of a mixie to the long, wheezing breath of an octogenarian, becomes a cue for laughter.

The moody, no-nonsense director played by Shobhy Thilakan who aces the role with his getup of a filmmaker sets the tone for a film that is definitely about conflict. He has debts to pay and he has not delivered a hit for some years now so the pressure is understandable. And when you are dealing with a star who has his quirky demands and ego in play, it can be an exasperating task.

At the centre of the story is Aashaan, played by Indrans—a former martial artist who has long dreamed of becoming an actor. As the film begins, his friends and rally around him, eager to see him realize his ambition. But as the shoot progresses, the question remains: will Aashaan, who is a central figure in the apartment, finally get his moment?

While recent films like Vineeth Sreenivasan’s ‘Varshangalkku Shesham’ have looked at artistic dreams within the film industry, ‘Aashaan’ takes a different route. It uses a film-within-a-film structure, similar to ‘Nadikar,’ but director Johnpaul pushes this idea further and more experimentally. However, as the narrative moves ahead, it shifts into an emotionally intense, revenge-driven zone. Though this turn adds intrigue, the film struggles to maintain a consistent tone.

It has been a while since we’ve seen Indrans truly shine on screen, and ‘Aashaan’ is a real joy in that sense. The film gives us the pleasure of watching an intense performer do what he does best, blending his signature body comedy with a quiet, powerful intensity. Joemon Jyothir, celebrated for his memorable comedic performances in films like ‘Vyasanasamedham Bandhumithradhikal’ and ‘Vaazha,’ delivers yet another striking portrayal, this time as Anandraman, an aspiring filmmaker, in Aashaan. His take on the assistant director is spot-on. He perfectly captures that mix of 'on-set stress' and 'personal ambition,' making the character feel like a real person dealing with both goals and second guesses.

Johnpaul, marking his debut as a music composer, enriches the film with a hauntingly beautiful soundtrack, particularly the song ‘Kunjikkavil Meghame’, which was released earlier as a tribute to the veteran actor Indrans. Sung by Sooraj Santhosh and with lyrics by Vinayak Sasikumar, the track is a lyrical journey that stays with you long after the credits roll.

However, it’s Vimal Jose Thachil’s cinematography that truly elevates the film. Also making his debut, Vimal’s lens transforms Aashaan into a visual spectacle. With the narrative weaving a film within a film, his mastery in framing each shot is evident. Every frame feels deliberate, cinematic, and meticulously composed, drawing the audience into the moment. The camera, like a character in itself, captures not just the action but the essence of the story, making the viewer feel deeply immersed in both the external and internal worlds of the film.

Overall, ‘Aashaan’ subtly critiques cinema while embracing its inherent charm. Although the tonal shift is a risky choice by the makers, the experiment deserves credit.