Footage Review: Saiju Sreedharan’s Debut Film Offers Thrills but Struggles with Consistency

Making his directorial debut, Saiju Sreedharan—a renowned editor in the Malayalam film industry—takes a bold step into the world of filmmaking with “Footage.” This film ventures into the found footage genre, combining the raw, unfiltered feel of handheld cameras with the intensity of a thriller. While “Footage” aims to deliver an immersive experience from a unique perspective, it unfortunately stumbles over its inconsistent storytelling and uneven pacing. Let’s delve into what works and what doesn’t in this ambitious but flawed cinematic experiment.

A Unique Approach to a Familiar Story

At its core, “Footage” is a revenge story told from the antagonist’s viewpoint. This isn’t the most original premise, but what sets the film apart is its found footage style—a technique that can either add authenticity or detract from the narrative if not handled properly. Here, Sreedharan, alongside co-writer Shabna Mohammed, uses this technique to give the audience an unconventional look at a typical revenge drama. The goal is to create a sense of immediacy and realism, drawing viewers into the story as if they are witnessing the events unfold firsthand.

The narrative follows a couple living in Kochi who have carved out a niche as YouTubers, exploring peculiar places and sharing their findings with an online audience. Their curiosity takes a dark turn when they decide to spy on a mysterious neighbor, leading them on a dangerous chase into a dense forest. The film tracks their journey through two cameras, capturing the eerie and often perilous adventures that ensue. This setup is intriguing, but the execution leaves much to be desired.

Hits and Misses: The Struggle for Consistency

One of the standout elements of “Footage” is its action choreography. The sequences set in the forest, particularly those on an abandoned boat, are intense and well-executed. The tension is palpable, and you can almost feel the damp, claustrophobic environment closing in. There’s a genuine sense of danger that grips the audience as the protagonists navigate the dense underbrush and the mysterious forces at play. In these moments, the film shines, showcasing Sreedharan’s ability to create suspense.

However, this tension is frequently undermined by a lack of coherence in the screenplay. The found footage style, intended to provide a gritty, realistic feel, often gets disrupted by irregular cuts and narrative gaps. Instead of long, unbroken shots that heighten the feeling of real-time danger, the film switches to more traditional editing, which breaks the immersion and confuses the audience. This inconsistency makes it difficult to stay fully engaged, as the film struggles to maintain a steady tone or pace.

Characters That Don’t Quite Fit

The film also falters in its character development. While Vishak Nair and Gayathri Ashok share a warm on-screen chemistry, which is crucial for their roles as a couple thrust into a harrowing situation, their individual character arcs feel underdeveloped. Gayathri’s character, in particular, is burdened with awkward dialogue about societal expectations and gender roles. These moments are meant to add depth, but they come off as forced and out of place within the broader narrative, making it difficult for the audience to connect with her struggles.

Vishak Nair brings his usual eccentric energy to the role, and his quirky mannerisms provide some levity in an otherwise tense film. His habit of affectionately calling his partner “Baby” even in life-threatening situations adds a touch of humor, but it can also break the tension at inopportune moments. Manju Warrier, one of the most important characters in the story, is given surprisingly little screen time and no lines, leaving her impact on the story feeling somewhat muted. The standout performance, however, comes from Bhanumathi Payyannur, who plays the maid with a quirky and refreshing presence that lightens the film’s darker moments.

An Honest Attempt with Room for Improvement

The landscape of Malayalam cinema is shifting, with filmmakers experimenting with new styles and narratives. “Footage” is Saiju Sreedharan’s earnest attempt to push the boundaries of conventional storytelling by incorporating the found footage technique into a mainstream thriller. While this endeavor is commendable, the film’s inconsistencies in writing and direction prevent it from achieving its full potential. It’s a bold attempt that falls short, a film that tries too hard to be innovative without fully understanding the demands of its chosen genre.

“Footage” does have its moments, especially when it leans into the raw intensity that the found footage style can offer. But these moments are too few and far between, lost in a sea of narrative and tonal shifts that dilute the overall impact. For those looking for a fresh take on the thriller genre, “Footage” might still be worth a watch. However, be prepared for a film that, much like its name suggests, often feels like a collection of random clips rather than a cohesive story.

Final Verdict: A Flawed Yet Fascinating Experiment

In conclusion, “Footage” is a film that showcases Saiju Sreedharan’s ambition as a filmmaker willing to experiment with form and narrative structure. It’s a film with potential but lacks the narrative discipline needed to make it truly compelling. The inconsistencies in style and story make it a challenging watch, but it’s not without its merits. For fans of experimental cinema and those interested in seeing where Malayalam cinema is heading, “Footage” provides a glimpse into the future—a future that’s bold, daring, and not afraid to take risks, even if they don’t always pay off.