Bengaluru-based director gives a filmy tweak to Kerala Minister's election campaign

A short film captures a summer in a Palakkad village in earthy tones, blending realism with artistic flair. There are snippets of the Urdu poem ‘Hum Dekhenge’ and a vintage clip of Maradona’s iconic brace against England in the 1986 World Cup. A lingering shot follows a group walking through a paddy field and among them is CPM’s Thrithala candidate, M B Rajesh.
It’s not a film, but his campaign video.

Titled ‘MBR Happy Aanu’ (MBR is Happy), the five-episode series traces a full day of Rajesh’s campaign—from dawn to dusk. Rajesh is currently the Minister for Local Self-Government of Kerala.

Directed by Vimal Chandran, known for Sushin Shyam’s music video ‘Ray’, the series has drawn praise across political lines for its craft and its break from conventional campaign storytelling. 

“MBR—whom I know personally—once asked if we could do a campaign video for him. He had no demands; he gave us complete creative freedom,” says Vimal, a Thrithala native now based in Bengaluru.

The team chose to follow Rajesh through a day of campaigning and let the narrative evolve organically. “We began with the idea of a typical high-voltage promotional video. But during the shoot, we felt we could attempt something different, also—an unconventional parallel narrative. During editing, we decided to release it as a five-episode series,” he adds.

Shot largely from the backseat of Rajesh’s car with a handheld camera, the conversations stayed away from politics. Instead, they focused on his childhood, favourite music, films and sports. These small, personal details shaped the narrative, supported by live-recorded sound and minimal background scoring.

The series, shot on March 23, unfolds across themes. The first episode, ‘Born in Jalandhar’, revisits Rajesh's early years in an army family and his journey to Kerala at the age of five, tracing his shift towards Left politics. ‘Vythyasangalkkappuram’ (Beyond Differences) highlights his rapport with people across political lines. ‘Maithanavum Thirasselayum’ (Ground and Stage) explores his love for football and cinema, including memories of IFFK. The fourth episode, ‘Hum Dekhenge’, reflects his political outlook and critique of power. The final episode blends cinematic visuals with a public appeal, underscored by Latin American- Mexican musical influences that echo Left political symbolism.

“Our aim was to capture the real-time experience of a campaign while keeping voters at the centre,” Vimal says. “We focused on aesthetics and music, but kept the treatment subtle and realistic. The idea was to connect with neutral voters rather than appeal only to party loyalists.”

The restraint was deliberate. Instead of high-pitched background scores, the film prioritises conversations between Rajesh and voters. “They should be heard,” he says. Much of the visual grammar took shape during editing, with spontaneous shots and Rajesh’s natural interactions guiding the process.

The project was completed in just three days, with a team—Ajay Menon, Aravind Babu, Jackson Ciril, Jidhin Shaju, Safwan Rasheed and Alan Oliver— that had previously collaborated on ‘Ray’. “It was an aesthetic, fun, relaxed process,” Vimal notes. The original, more conventional campaign video is yet to be released.

A similar cinematic influence is also evident in election poster designs this time. Taglines—drawn from Malayalam movie titles, song lyrics, and popular dialogues—have gained traction for their instant recall and relatability among voters.

Dialogues like ‘Kerivada Makkale’ (Godfather), ‘Pooram Kodiyeri Makkale’ and ‘Pappan Kappum Konde Pokathollu’ (Aadu), and ‘Vekkada Ithinu Mele’ (Chakkram) are among the most widely used. Posters also mimic film title aesthetics, replicating calligraphy styles for phrases such as ‘Thudarum’ and variations of ‘Sarvam Maya’. In some cases, themes from films like ‘Kannur Squad’ are adapted to present candidates collectively.

Song lyrics, too, feature prominently—lines like ‘Kunjikkavil Meghame’ and ‘Ulayatha Thejasinte Mukhame’ (Aashan), and ‘Aaha Armadham’ (Aavesham) are commonly seen. Visually, designers are also moving beyond rigid party colour schemes, experimenting with varied tones and textures to enhance realism and vibrancy.