Eko, directed by Dinjith Ayyathan and written & shot by Bahul Ramesh, is a film that demands patience and rewards it richly. Anchored ...
Eko, directed by Dinjith Ayyathan and written &
shot by Bahul Ramesh, is a film that demands patience and rewards it richly.
Anchored in the mist-shrouded hills of Kerala’s Kaattukunnu, this final chapter
of the Animal Trilogy blends psychological tension, layered storytelling, and a
haunting mood to deliver one of Malayalam cinema’s most compelling thrillers of
recent years.
From its very first frame, Eko establishes a tone
both enigmatic and evocative. Bahul Ramesh’s cinematography is the heartbeat of
the film — the fog-laden landscapes, the damp earth underfoot, and the
chiaroscuro interplay of shadows render the environment itself a character.
Here, the camera doesn’t just observe; it breathes the story, giving visual
form to dread, anticipation, and unease.
This isn’t cinema that rushes; it plots its course
like a river finding its path. The pacing is deliberate, a slow burn that’s
rare in mainstream thrillers. Yet this patience is not indulgent — each quiet
moment, each lingering frame, serves to immerse the viewer deeper into the
world on screen. By the time pivotal revelations unfold, you feel as if you’re
part of the mysterious landscape, walking its trails, deciphering its secrets
alongside the characters.
At the centre of Eko is Sandeep Pradeep, whose
intense, carefully calibrated performance anchors the narrative. He conveys
inner conflict and curiosity with a quiet precision that keeps audiences
invested even when scenes unfold slowly. Biana Momin stands out as well,
delivering emotional depth that anchors her character’s journey through
ambiguity and fear.
Veteran actors like Vineeth, Narain, Binu Pappu,
and Ashokan bring seasoned weight to the ensemble, adding texture and
complexity to the film’s shifting timelines and moods. Saurabh Sachdeva’s
intriguing depiction of the mythic figure of Kuriachan — mysterious, ominous,
and lore-like — adds gravitas and legend to the story’s heart.
Music by Mujeeb Majeed is subdued yet haunting — a
score that doesn’t merely accompany the visuals, but converses with them.
Rather than punctuating moments, it weaves into the suspense, enhancing every
breath, every distant bark, and every silence.
Editor Sooraj E. S. maintains a rhythm that
respects the film’s deliberate pacing. Scenes unfold with intent, and the
rhythmic cutting helps cultivate tension without resorting to cheap jolts or
artificial urgency.
Without spoiling its surprises, Eko builds its
mystery through layers — fractured timelines, murmured secrets, and an
overarching sense of something just out of reach. The story meanders through
psychological terrain, inviting viewers not only to watch but to think, feel,
and question. That journey culminates in a twist that is both unexpected and
deeply satisfying — the kind of reveal that reframes everything you’ve seen
without feeling like a mere gimmick. It certainly belongs among the most
memorable endings of recent Malayalam cinema.
What distinguishes Eko is its commitment to the
cinematic — not just in craft but in experience. It is sensory and reflective,
meditative, flirtatious with ambiguity yet confident in its emotional core. The
pacing, while slow, is purposeful; the atmosphere is not a backdrop, but a
pulse; the twist is not a trick, but a revelation that honours what came
before.
This is pure cinema — a film that revels in the
medium’s ability to weave mood, image, sound, and story into an immersive
whole.
Eko is not merely a thriller to watch — it’s one to
experience. With its slow-cooked tension, atmospheric visuals, and brilliant
payoffs, it stands as a testament to Malayalam cinema’s strength in marrying
artistry with emotion. If you crave cinema that lingers long after the credits
roll, Eko is an essential journey into mood, mystery, and the sublime power of
storytelling.
By Pratik Majumdar (author: Love Coffee Murder and
1975 The Year That Transformed Bollywood)
This review, I feel, is equally adept as the film, in piquing the reader's interest in the movie. Like the chiaroscuro of the fog in the movie, the review hints at intriguing elements of cinematic excellence that are bound to interest lovers of good cinema.
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