‘Bouma’ movie review: A familiar horror setup elevated by smart twists

-Rejin S Babu’s ‘Bouma’ opens with an unsettling sequence that sets the tone for the mystery to follow. A group of tribal people arrive at a sprawling house, apparently to perform an exorcism, immediately introducing an element of dread. The opening portions gradually draw us into the events surrounding the house, while the title ‘Bouma’, loosely translated as ‘earthly’, offers an interesting entry point into the film’s underlying themes.

Malayalam cinema has explored the horror-thriller space in different ways in recent years, with films such as ‘Nalla Nilavulla Rathri’, ‘Ezra’ and ‘Adam Joan’ experimenting with the genre. One of the recurring pitfalls of horror filmmaking, however, is an excessive dependence on violence, gore and shock value to sustain audience interest. ‘Bouma’ largely steers clear of this approach. Instead, Rejin, who has co-written the screenplay based on a story by Dony S Kadamanitta, relies on atmospheric tension, carefully timed revelations and unsettling situations to hold the narrative together. The writing generates sufficient curiosity without constantly resorting to disturbing imagery.

One of the film’s strengths is its compact runtime and relatively focused screenplay. The narrative is not burdened with too many characters or unnecessary subplots, and most of those who enter the story have a purpose. However, the characterisation is not always equally convincing, with some supporting roles receiving little room for development. While this occasionally leaves certain characters feeling underwritten, the central conflict remains engaging enough to keep the narrative on track.

There is a familiar cinematic vocabulary to ‘Bouma’. Isolated houses, religious rituals, exorcisms and supernatural presences have long been staples of international horror cinema. Rejin draws on these conventions while attempting to place them within a distinct setting and context. At the centre of the story is a singer, played by ‘Thalavara’ fame Revathy Sharma, who gets an opportunity to revisit a past connected to a mysterious house. She undertakes this journey with her boyfriend Jacob (Sagar Surya), with their story taking them to Peerumedu.

Running parallel to this is a police investigation in Kochi, led by Dileesh Pothan, as the team attempts to unravel another mystery. The film gradually brings these two strands together, with developments in one adding context to the other. This narrative structure is effective in sustaining audience interest, even if certain connections could have been established with greater clarity.

The technical departments contribute substantially to the film's overall impact. Cinematography, music and production design come together to create an eerie visual and sonic landscape without making the horror unnecessarily theatrical. The locations, in particular, reinforce the isolation central to the story. Some of the visual compositions are striking, especially in the portions featuring Revathy's character as a singer. A sequence in which she and Jacob look into each other's eyes is particularly well presented, providing a brief visual contrast to the film's otherwise sombre mood.

However, the film is not without its shortcomings. Its depiction of horror takes certain creative liberties that are not entirely convincing. Some of these portions could have benefited from a more grounded and credible treatment, particularly given the importance they assume in establishing the film's world. Although these choices occasionally strain believability, Rejin manages to offset their impact through some effectively staged sequences.

An interesting aspect of the writing is its incorporation of contemporary real-life references and social realities into the central narrative. These details lend the story a recognisable context and prevent it from becoming entirely dependent on familiar supernatural conventions. Dony and Rejin deserve credit for attempting to connect the fictional mystery with realities beyond the confines of the house. It is this element that gives ‘Bouma’ some distinction within an otherwise familiar genre framework.

The performances are largely in keeping with the film's restrained approach. Vineeth Radhakrishnan, who had earlier spoken about portraying his character across three different timelines, makes a good impression, though his recent performance in ‘Eko’ remains a stronger showcase of his abilities. Dileesh Pothan brings a sense of credibility to the police investigation, while Revathy Sharma has her moments as the singer whose past becomes central to the narrative. Sagar Surya fits comfortably into the proceedings. The ensemble does not always get enough material to explore its characters fully, but the performances remain largely effective within the screenplay's requirements.

‘Bouma’ is not an entirely original take on supernatural horror. Yet, the film has a reasonably assured narrative structure, effective technical contributions and enough well-constructed sequences to sustain interest. Rejin S Babu, whose previous work ‘Pendulum’ explored psychological elements, demonstrates an understanding of how to build tension without constantly relying on shock tactics. Despite its inconsistencies, ‘Bouma’ makes for a reasonably engaging horror-thriller that finds its strengths in its execution rather than the novelty of its premise.