Chidambaram crafts an atmospheric, performance-driven ‘Balan: The Boy’ | Movie Review
Every child dreams of a safe nest, a sanctuary called home. More often than not, that sanctuary is anchored by a parent. In ‘Balan: The Boy,’ director Chidambaram (Manjummel Boys) expertly weaves a poignant tale around a young boy whose entire universe centers on his mother, a woman whose true
Every child dreams of a safe nest, a sanctuary called home. More often than not, that sanctuary is anchored by a parent. In ‘Balan: The Boy,’ director Chidambaram (Manjummel Boys) expertly weaves a poignant tale around a young boy whose entire universe centers on his mother, a woman whose true
Every child dreams of a safe nest, a sanctuary called home. More often than not, that sanctuary is anchored by a parent. In ‘Balan: The Boy,’ director Chidambaram (Manjummel Boys) expertly weaves a poignant tale around a young boy whose entire universe centers on his mother, a woman whose true
Every child dreams of a safe nest, a sanctuary called home. More often than not, that sanctuary is anchored by a parent. In ‘Balan: The Boy,’ director Chidambaram (Manjummel Boys) expertly weaves a poignant tale around a young boy whose entire universe centers on his mother, a woman whose true identity remains a mystery to the outside world. Having already made waves on the global film festival circuit, including a screening at the Cannes Film Market, this striking drama beautifully navigates a life fraught with uncertainty, surprises, and hardship.
What makes the film particularly arresting is how screenwriter Jithu Madhavan pivots from the eccentric energy of his directorial hits (Romancham, Aavesham) to craft a deeply subtle, grounded narrative that is also psychological in nature. The mother (played with layered intensity by debutante Farzana Palathingal) is a compelling paradox. She fiercely guards her past, leaving the audience to wonder: Is she running from fear, or protecting her son from a history she wishes to erase? By leaving these questions unanswered, Madhavan amplifies the story’s intrigue.
As she drifts through new identities, she crosses paths with an elderly recluse played by Dolly June.
Defying the warm, maternal stereotypes traditional to Malayalam cinema, June’s character is as uninviting as the decaying house she occupies. Brandishing a gun and sharp threats, she delivers a standout performance; her dark, cynical, yet strangely lively exchanges with the young boy provide some of the film’s most captivating moments.
The soul of the film belongs to debutant Adhisheshan K R, who plays the titular Balan. He is an absolute find for Malayalam cinema. With a deeply piercing, innocent gaze, Adhisheshan commands the screen whether he is interacting with a policeman, a thug, a teacher, or his peers. While the script is heavy at most parts, there is a certain levity and charm that is injected into it, through some sharp and witty writing by Jithu, who also manages to introduce some distinct characters in the narrative.
Farzana, too, is in her element as the mother, whose stories fuel her son’s imagination even as he confronts some harsh truths. A theatre artiste by profession, her nuanced performance draws you in to the character she embodies. Beena Antony, Jean Paul Lal, ‘Premalu’ director Girish AD, and Tovino also impress with their performances.
For a director best known for exploring emotional male bonding and friendships—whether in the blockbuster Manjummel Boys, which followed a group of friends whose adventure takes a near-fatal turn, or in Jan.E.Man, centered on a boisterous and insecure young man trying to celebrate his birthday amid a death in the neighbourhood—it is fascinating to see Chidambaram seamlessly transition into a maternal survival drama.
What makes the shift particularly impressive is how he retains his knack for crafting gripping thriller moments while keeping the story deeply rooted in the emotional bond between a mother and her son. The film strikes a delicate balance, remaining psychologically engaging without becoming excessively dark or overly sentimental. This is where Chidambaram's brilliance as a filmmaker truly shines.
The film boasts an exceptionally strong first half, culminating in a riveting interval block. However, the final stretch feels somewhat rushed, as though the writing did not receive the same level of care and attention as the rest of the narrative. Despite these shortcomings, the film ultimately lands on a satisfying note.
Sushin Shyam's music is immersive, drawing viewers into the emotional and psychological landscape of the story, while Shyju Khalid's cinematography beautifully captures the lush landscapes and diverse settings through which the characters journey.
Overall, despite a few moments that require some suspension of disbelief, the film stands as yet another masterpiece from Chidambaram, who deserves immense credit for delivering such an evocative and compelling cinematic experience.