A river thirsty for blood

Lukose is absolutely assured, given that this is his debut feature. He packs in a lot, yet nothing seems rushed

Paka (River of Blood) by Nithin Lukose, debut feature that showed recently at the Toronto International Film Festival, is a superb reflection on the cyclical nature of violence over generations. It is produced by Anurag Kashyap and Raj R. On the surface, this film, in Malayalam, is like a Romeo and Juliet love story, set amid feuding families. But it goes way deeper. It reflects on the overwhelming intensity of the poison that is hatred, and the diffident fragility that is love, in an unequal match, whose outcome for humanity is a given. The compassion and affection with which Lukose treats his many characters who turn killer, is what sets it apart from the zillion films and web series, in which a rising body count, a truckload of ketchup and non-stop swearing are considered benchmarks.

More than cynical, the film is a cautionary tale, told with a sigh and bowed shoulders. Lukose’s richly layered film, set in Kallodi town in Wayanad, Kerala, doesn’t let you take your eyes off for a moment. The film opens with a body being fished out of a river. This is such a routine, oh-ah occurrence, that someone on the river bank continues to listen to cricket commentary on the radio. In such a town, Johnny is in love with Anna, and they belong to feuding families that have been killing each other for generations. The couple is due to marry soon, but just before, Johnny’s uncle Kocheppu, is released from jail: he had murdered Anna’s father. That unleashes a fresh cycle of violence that swallows people from both families, as the river is burdened with more and more murderous secrets.

Kocheppu asks Anna for forgiveness: there was a fight, he didn’t mean to murder, he is sorry and he has been punished for it, spending half his life in jail. He joyously buys them wedding gifts; he weeps during a sentimental movie; he even offers to marry a sex worker. Kocheppu is one of many ‘innocents’ in the film—people like you and me—but who have unwittingly committed a murder, against their own better judgement, but that doesn’t change their basic nature. But for Anna’s brothers, it’s small peas that the law has punished Kocheppu with a 15-year jail term: they need to hack him themselves. And so it goes on. Anna believes their marriage will bring the peace needed, but Johnny is terrified he will be the next victim of a vadivaal (long knife). The film asks: are humans capable of forgiveness? And when will it all end?

Lukose is absolutely assured, given that this is his debut feature. He packs in a lot, yet nothing seems rushed. Although violence is central to the film, most of the murders are off-screen, and not sensationally shot. He marvellously evokes small town details—Christian families, a Mother Mary chariot procession, band competitions, fireside chats—all fed by a river that is “thirsty for blood.” Basil Paulose (who was in Randu Per) is superb as Johnny, a character hung over with melancholia, who is distrustful of happiness. Vinitha Koshy (who was in Ottamuri Velicham, Light in the Room) is decent as Anna. But Jose Kizhakkan stands out  as Kocheppu, the most endearing character in the film.

The screenplay, by Lukose, is strong and nuanced (Asad Hussain was script consultant). It is fascinating how the film subverts the traditional template, in which violence is a standard component of masculinity: here it is Ammachi (grandmother), always off screen, who fuels the murders; she even killed a family member for being “too peaceful.” In this, the film may be obliquely commenting on the right-wing, violent, lynching machismo growing in India today, where peace and love are perceived as cowardly traits. Anyway, the granny’s swearing would make the webserieswallahs blush.

Cinematographer Srikanth Kabothu’s conviction that less is more, gives the film real power. Arunima Shankar’s editing is excellent. Faizal Ahamed’s music is spare and effective, with fine sound design by Pramod Thomas and team. Kashyap, and Raj R (Rachakonda), director of the brilliant Mallesham (Telugu), are producers, with Nithin Lukose and Samir Sarkar as Executive Producers. Such a fine debut!

Meenakshi Shedde is India and South Asia Delegate to the Berlin International Film Festival, National Award-winning critic, curator to festivals worldwide and journalist. 
Reach her at meenakshi.shedde@mid-day.com

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