Prithviraj-Nazriya Nasim- Anjali Menon’s Koode

I’ve been someone who has looked for logic in everything I do. ‘Does this make sense’, has been a constant part of how I perceive everything. #AnjaliMenon’s #Koode showed me that some of the most beautiful things — emotions that are precious, like the joy a wide, toothless smile radiates, not necessarily need to make sense. They just touch your soul — you won’t care about why your soul feels lighter or heavier. It just does.

And how beautifully has Anjali Menon captured the power of touch. Koode is a celebration of touch, of how communicative it can be. It seamlessly but powerfully can convey any emotion. Anjali uses this wisely; some of the most heartwarming and heart wrenching moments are conveyed through touch. Only that. Love, romance, compassion, comfort, power, abuse — #Koode communicates all of this, the relationship dynamics of the characters, with this lovely language that we have forgotten. Sophie’s reactions (played by a brilliant Parvathy) are clear examples. The way she shrinks and welcomes touch, knowing where it comes from, is how all of us are.

Touch is a language that is governed by instinct and pure emotion. And Anjali places her close ups as a reminder. It’s just beautiful to watch, considering we are in an era that judges touch like none other. Is there a more honest way to be Koode (together)?

That’s just one of the many, many, many things that I loved about #Koode. Every frame is visual joy, carrying a well-placed metaphor. Koode is a journey, an experience that seems like it makes perfect sense and no sense at the same.

Adam Joan movie review: This Prithviraj film looks good but is insipid

Adam Joan starring Prithviraj, Bhavna and Narein is one good looking movie. Shot mostly in Scotland, the film uses black and grey dominantly, to the point that we are dying to see some colours on screen. Nevertheless, Jithu Damodar’s cinematography looks beautiful on screen. However, it is unfortunate that the story isn’t strong enough to match the visuals on screen.

Adam Joan meets Amy and falls in love with her. After their marriage, they move to Scotland. Amy dies during childbirth and Adam leaves the newborn with his mother, brother and his sister-in-law. The girl gets kidnapped just before Adam makes a trip to his brother’s place after which he sets out to rescue his kidnapped daughter. The story line vaguely reminds one of Liam Neelson’s Taken. But unlike Taken, the transformation of a wealthy planter into a self-appointed sleuth here is a bit too drastic for logic.

Continue reading “Adam Joan movie review: This Prithviraj film looks good but is insipid”

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