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നക്‌സലിസം, ഏറ്റുമുട്ടല്‍ കൊലപാതകം; സമകാലീനതയിലേക്ക് കണ്ണുതുറക്കുന്ന സ്റ്റേഷന്‍ 5

എ വി ഫര്‍ദിസ്, 07 january 2022, 08:49 pm ist, സ്വാതന്ത്ര്യം കിട്ടി ഏഴു പതിറ്റാണ്ട് പിന്നിടുമ്പോഴും ഈ ദേശത്തിലെ ആദിമനിവാസികളോട് ഭരണകൂടവും ഭരണംകൈയ്യാളുന്ന നഗരസംസ്‌കാരത്തിന്റെ വക്താക്കളായ പരിഷ്‌കാര സമൂഹവും എന്താണ് ചെയ്യുന്നതെന്ന വിചിന്തനമുണ്ടാക്കുവാനുള്ള അത്തരമൊരു പരിശ്രമമമാണ് സ്റ്റേഷന്‍ 5 എന്നത് നിസ്സംശയം പറയാവുന്നതാണ്..

ഇന്ദ്രൻസിന്റെ ഗെറ്റപ്പ് സ്റ്റിൽ

ക ഴിഞ്ഞ വര്‍ഷങ്ങളില്‍ ഉത്തരേന്ത്യയിലേതുപോലെ കേരളം സാക്ഷിയായ സംഭവങ്ങളിലൊന്നായിരുന്നു നിലമ്പൂരിലടക്കം സംഭവിച്ച നക്‌സല്‍ ഏറ്റുമുട്ടല്‍ കൊലപാതകങ്ങള്‍. സായുധധാരികളായ നക്‌സലൈറ്റുകള്‍ ആക്രമണത്തിനായി വന്നപ്പോഴുള്ള ഏറ്റുമുട്ടലില്‍ ഇവരെ വെടിവെച്ചുകൊല്ലുകയായിരുന്നുവെന്നാണ് ഔദ്യോഗികമായി പോലീസ് പറഞ്ഞുവെങ്കിലും ഈക്കാര്യം വിശ്വസനീയമായി പൊതുസമൂഹത്തിന് മുന്നില്‍ ബോധ്യപ്പെടുത്താന്‍ സാധിച്ചില്ലെന്നുള്ളത് പിന്നീട് കേരള സമൂഹത്തില്‍ ഇതുസംബന്ധമായി ഉയര്‍ന്നുവരുന്ന ചര്‍ച്ചകളിലെല്ലാം നിരന്തരം ഉയര്‍ന്നുകേള്‍ക്കുന്ന ചോദ്യങ്ങളിലൊന്നാണ്. സംഭവസ്ഥലം സന്ദര്‍ശിച്ച മനുഷ്യാവകാശ പ്രവര്‍ത്തകരടക്കമടങ്ങിയ സംഘം ഇതിനെ തുടര്‍ന്ന് ഉയര്‍ത്തിയ പല സംശയങ്ങള്‍ക്കും വസ്തുതാപരമായ മറുപടി ലഭിക്കാതെപോകുകയായിരുന്നു. അങ്ങനെയാണ് അന്ന് ഭരണത്തിലുണ്ടായിരുന്ന ഇടതുമുന്നണി ഘടകകക്ഷിയായ സി പി ഐപോലും പരസ്യമായി ഇതിനെതിരെ രംഗത്തുവന്നത്.

കേരളത്തില്‍ വളര്‍ന്നുവരുന്ന നക്‌സലിസവുമായി ആഭ്യന്തരസംവിധാനങ്ങള്‍ ഏറ്റവുമാദ്യം ബന്ധപ്പെടുത്തി സംസാരിക്കാറുള്ളത് ആദിവാസികളെയും അവരുടെ ഊരുകളുമായിട്ടാണ്. ജാര്‍ഘണ്ഡ്, ബീഹാര്‍ പോലുള്ള സംസ്ഥാനങ്ങളിലെ അവസ്ഥ മുന്‍നിറുത്തിക്കൊണ്ടുകൂടിയായിരിക്കാം. എന്നാല്‍ കേരളത്തിലുണ്ടായ നക്‌സല്‍ ഏറ്റുമുട്ടല്‍ കൊലപാതകങ്ങള്‍ സാഹിത്യ,കലാ ലോകത്തുണ്ടാക്കിയ അലയൊലികള്‍ ഇപ്പോഴും കെട്ടടങ്ങാതെ നില്ക്കുന്നുണ്ട്. പിന്നീട് വന്ന വിവിധ കലാമാധ്യമങ്ങളില്‍ പലതിലും പലപ്പോഴായി ഇത്തരമൊരു കാര്യം ഇപ്പോഴും ആവര്‍ത്തിച്ചുകൊണ്ടിരിക്കുന്നുണ്ട് എന്നതുതന്നെയാണ് ഇതിന് ഏറ്റവും നല്ല ഉദാഹരണം. നക്‌സല്‍ ഏറ്റുമുട്ടലുകളോടുള്ള കലാലോകത്തിന്റെ ഇത്തരമൊരു പ്രതികരണത്തിന്റെ തുടര്‍ച്ചയായി വിലയിരുത്തുവാന്‍ സാധിക്കുന്ന ചലച്ചിത്രങ്ങളിലൊന്നാണ് മാധ്യമപ്രവര്‍ത്തകനായ പ്രശാന്ത് കാനത്തൂരിന്റെ സ്റ്റേഷന്‍ ഫൈവ്.

ജോലിയിലെ അശ്രദ്ധയുടെ ഭാഗമായി കിട്ടുന്ന ഒരു പണിഷ്‌മെന്റിന്റെ ഭാഗമായി ഹൈറേഞ്ചിലെ ഒരു ഡിസ്‌പെന്‍സറിയിലേക്ക് സ്ഥലമാറ്റം കിട്ടുന്ന ഡോ. കാര്‍ത്തികിന്റെ സഞ്ചാരങ്ങളാണ് സിനിമയുടെ ആകെ കഥ. അവിടെയെത്തി ആദ്യദിവസം തന്നെ മദ്യലഹരിയില്‍ ഡ്രൈവിംഗിനിടെ ഒരാളെ ഇടിച്ചുവീഴ്ത്തി കൊല്ലുന്ന കാര്‍ത്തികിനെ സംബന്ധിച്ചിടത്തോളം ഇതിന് പ്രായശ്ചിത്തമായി കിലോമീറ്ററുകളോളം നടന്ന് യാത്ര ചെയ്താല്‍ മാത്രം എത്താവുന്ന ഒരു ആദിവാസി ഊരില്‍ ആഴ്ചയില്‍ ഒരു ദിവസം സേവനം ചെയ്യുവാന്‍ നിര്‍ബന്ധിതനാകുകയാണ്. എന്നാല്‍ അവിടെ നിഷ്‌കാമമായി പ്രവര്‍ത്തിക്കുന്ന പത്മ എന്ന ടീച്ചറെ കാണുന്നതോടുകൂടി തന്റെ സേവനം ഏറ്റവുംകൂടുതല്‍ ആവശ്യമുള്ള ഒരിടമായി ഇവിടത്തെ കാണുകയാണ്. എന്നാല്‍ പാര്‍ലിമെന്റ് തെരഞ്ഞെടുപ്പിന്റെ അന്ന് യാദൃച്ഛികാ പോളിങ് മെഷീന്‍ കാണാതാകുന്നതോടെ വിഷയങ്ങളെല്ലാം മാറുകയാണ്. പിന്നീട് കടന്നുവരുന്ന പോലീസും നക്‌സലിസവുമെല്ലാമാണ് സ്റ്റേഷന്‍ ഫൈവ് എന്ന സിനിമയുടെ യാഥാര്‍ഥ പ്രമേയം.

ആര്‍ക്കും എന്തിനുമുപയോഗിക്കാവുന്ന വെറുമൊരു ഉപകരണം മാത്രമായി നമ്മുടെ നാട്ടിലെ ആദിവാസികളെ കണക്കാക്കുന്നവരുണ്ട്. ഈ യാഥാര്‍ഥ്യത്തെയും നക്‌സല്‍ വേട്ടയുടെ പേരില്‍ ഇന്ത്യയിലങ്ങോളമിങ്ങോളം ഈ വിഭാഗം നേരിടുന്ന പ്രശ്‌നങ്ങളുമെല്ലാം പലപ്പോഴും നമ്മുടെ സിനിമകള്‍ക്ക് വിഷയമായി മാറിയിട്ടുണ്ട്. ഭരണകൂടത്തിന്റെയോ പോലീസിന്റെയോ മൗത്ത് പീസാകാതായെയുള്ള ഇത്തരം നല്ല ദൃശ്യവിരുന്നുകളായിരുന്നു ന്യൂട്ടന്‍മുതല്‍ മലയാളത്തില്‍ ഇറങ്ങിയ ഉണ്ട വരെയുള്ള സിനിമകള്‍. രണ്ടാം പകുതി കഴിഞ്ഞ് സിനിമ അവസാന ക്ലൈമാക്‌സിലേക്ക് പോകുമ്പോള്‍ സ്റ്റേഷന്‍ 5 നമ്മെ ഇത്തരമൊരു അന്തരീക്ഷത്തെ ഓര്‍മപ്പെടുത്താന്‍ ശ്രമിക്കുന്നുവെന്നുള്ളതാണ് രണ്ടു മണിക്കൂര്‍ നീണ്ടുനില്ക്കുന്ന ഈ ചലച്ചിത്രം പ്രേക്ഷകനു നല്കുന്ന ഏറ്റവും വേറിട്ട കാര്യങ്ങളിലൊന്ന്. ആദിവാസികളെ വോട്ട് ചെയ്യിപ്പിക്കുവാന്‍ തെരഞ്ഞെടുപ്പ് സമയത്ത് അധികാരികള്‍ നടത്തുന്ന കഷ്ടപ്പാടുകള്‍, ഒരു കാലത്ത് നമ്മുടെ പത്രങ്ങളിലെ ക്ലീഷേയായ സ്ഥിരം വാര്‍ത്തകളായിരുന്നുവല്ലോ. എന്നാല്‍ പ്രത്യക്ഷത്തില്‍ പാര്‍ശ്വവല്ക്കരിക്കപ്പെട്ടവനെപ്പോലും ജനാധിപത്യത്തിന്റെ ഭാഗമായി മാറ്റുവാനുള്ള ആത്മാര്‍ഥതക്കപ്പുറം പൊള്ളയായ കാട്ടിക്കൂട്ടലാണതെന്നതാണ് ന്യൂട്ടനും ഉണ്ടയുമൊക്കെ പ്രേക്ഷകനോട് സംവദിച്ചതെങ്കില്‍ ചേവമ്പായി എന്ന ആദിവാസി ഊരുകൂടി നിലനില്ക്കുന്ന വാര്‍ഡിലെ മെമ്പറായ ഇന്ദ്രന്‍സിന്റെ കഥാപാത്രത്തിലൂടെ ഈ സിനിമയും നല്കുവാന്‍ ഉദ്ദേശിക്കുന്നതതു തന്നെയാണ്. സ്വാതന്ത്ര്യം കിട്ടി ഏഴു പതിറ്റാണ്ട് പിന്നിടുമ്പോഴും ഈ ദേശത്തിലെ ആദിമനിവാസികളോട് ഭരണകൂടവും ഭരണംകൈയ്യാളുന്ന നഗരസംസ്‌കാരത്തിന്റെ വക്താക്കളായ പരിഷ്‌കാര സമൂഹവും എന്താണ് ചെയ്യുന്നതെന്ന വിചിന്തനമുണ്ടാക്കുവാനുള്ള അത്തരമൊരു പരിശ്രമമമാണ് സ്റ്റേഷന്‍ 5 എന്നത് നിസ്സംശയം പറയാവുന്നതാണ്. റിച്ച്‌നെസ്സുള്ള ഫ്രെയിമുകളിലൂടെ പ്രേക്ഷകന്റെ ശ്രദ്ധയെ സ്‌ക്രീനില്‍ തന്നെ പിടിച്ചുനിര്‍ത്തുവാനുള്ള ക്യാമറമാന്റെ ശ്രമങ്ങള്‍ സിനിമക്ക് നല്ല മുതല്‍ക്കൂട്ടായി മാറുന്നുണ്ട്. അതുപോലെ പ്രശാന്ത് കാനത്തൂരിന്റെ സംഗീതവും ഏറെ നല്ല അനുഭവമാണ് ശ്രോതാവിന് നല്കുന്നത്. ചിത്ര പാടിയ റഫീഖ് അഹമ്മദിന്റെ അതിരുകള്‍ മതിലുകള്‍ വരഞ്ഞിടും കനിവുകള്‍ എന്ന ഗാനം വരുംകാലത്ത് ഏറെ ചര്‍ച്ചചെയ്യപ്പെടുന്ന പാട്ടുകളിലൊന്നായി എണ്ണപ്പെടും. വിനോദ് കോവൂരിന്റെ നഞ്ചമ്മയുടെയും ടങ്ക് ടക്കാ ടങ്ക് ടക്കയും ആലാപനത്തിലെ വ്യത്യസ്തകൊണ്ട് വേറിട്ടതായി മാറിയേക്കും. നമ്മുടെ ജനാധിപത്യം ലോകത്ത് സമാനതകളില്ലാത്തതാണ് നാം ഏറെ കെട്ടിഘോഷിക്കുമ്പോഴും വര്‍ത്തമാനകാലത്ത് ഇതിന്റെ അവസ്ഥ എവിടെയെത്തിയെന്നതിനെ വേറിട്ട രീതിയില്‍ കാണുവാനുള്ള ഒരു ശ്രമമാണ് സ്റ്റേഷന്‍ 5 എന്ന കാര്യത്തില്‍ ഒരു സംശയവുമില്ല.

Content Highlights: Station 5 movie Review, Prasanth Kanathur Movie, Indrans, Prayan, Priyamvada Malayalam Movie

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സിരകളിൽ പരീക്ഷണാത്മകതയുടെ ലഹരി നിറയ്ക്കുന്ന ചലച്ചിത്രാനുഭവം, വ്യത്യസ്തം 'ടോബി'

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പ്രണയത്തിൻ്റെ ചിറകിലേറി പറന്നുയരാനുള്ള യാത്ര, ചിരി ...

ഒരു വെറെെറ്റി കള്ളനും ചിരിപ്പിക്കുന്ന പൊല്ലാപ്പുകളും, ...

നുണകളാൽ പടുത്തുയർത്തിയ കൊട്ടാരത്തിൽ ചിരിപ്പൂരം, കളറാണ് ...

വിക്രമും പാ രഞ്ജിത്തും ചേർന്നൊരുക്കിയ മാസ്റ്റർപീസ്, ...

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Station 5 Malayalam Movie

Station 5 is a 2022 Indian movie directed by Prasanth Kanathur starring Indrans, Dayyana Hameed, Santhosh Keezhattoor and I M Vijayan. The feature film is produced by B. A. Maya and the music composed by Prasanth Kanathur.

Director: Prasanth Kanathur Producer: B. A. Maya Music Director: Prasanth Kanathur Background Music Composer: Thej Mervin Song Lyrics Writers: Rafeeq Ahammed , Harilal Rajagopal, Prakash Marar Cinematographer: Pratap P Nair Editor: Shaleesh Lal Art Designers: Unni Kuttipuram, Murali Beypore Original Story Writer: Pratap P Nair

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Indrans stuns fans with new look; latest movie ‘Station 5’ all set to roll

10 october 2021, 11:18 am ist, the movie makers have released the look of indrans’ character from the movie..

The movie ‘Station 5’ starring Indrans in a unique role is all set to roll. The title poster of the movie brought out by directors Renji Panicker, Joy Mathew and lyricist Rafeeq Ahmed had drawn quite a lot of attention. The movie makers have released the look of Indrans’ character from the movie.

Indrans is portraying a strong character named Chevambayi. Prayan is the lead actor and Priyamvada Krishnan plays the female lead in the movie. Dayyana Hameed also plays a strong role in the movie.

The movie features many actors including Santhosh Keezhattoor, Shivaji Guruvayoor, Rajesh Sharma, Sunil Sugada, Vinod Kovoor and so on.

‘Station 5’ is produced by B A Maya under the banner of Maap Film Factory and directed by Prashanth Kanathur.

Director Prashanth Kanathur composed the songs written by Rafeeq Ahmed, Harilal Rajagopal and Prakash Marar. The singers in the movie are K S Chithra, Nanjamma, Vinod Kovoor, Keerthana Sabareesh, and Sreehari.

Screenplay and Cinematography are done by Prathap Nair. Shaleel Lal is the editor and C K Ajay Kumar is the PRO.

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Guest 525 days ago

A good and different movie. But some questions arise. <br/>Sreeja moves out to Mumbai with the infant 17 years ago and does not want to return when Vinod meets her there couple of years later. Then how does the &quot;Incident&quot; leading to Vinod's death take place in a local lodge years later.?

User venkatesh 535 days ago

Superb &amp; Greatest Direction &amp; Story &amp; Bgm <br/>100/100 ��������

Mathipoorani Balasundaram 538 days ago

As a parent of two children and a professor born in such a strong Indian culture of family values it's really disheartening to watch a whole movie with wrong behaviour behaviours in all aspects, be it the role of cops, role of a father, husband and the youngsters as pramods daughter.<br/>Though it's a thriller that takes your curiosity and suspense, no message and value or fun or even a small feel good factor. I feel deeply hurt and ashamed having seen the movie with my young son

Muhammad Nezar M N 541 days ago

AN EXCELLENT FILM WHICH HAS SOME MIND DISTURBING SCENES AND HAUNTING CLIMAX. THE FILM DEFINITELY HUNT YOUR MIND AND HEART ��

Sudesa Mithiran 545 days ago

Nice review

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Station 5 is a 2022 Malayalam drama movie, directed by Prashanth Kanathu. The movie stars Indrans, Prayan, Priyamvada Krishnan and Dayyana Hameed in the lead roles

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Malayalam actors Jayasoorya, Maniyanpilla Raju booked for sexual assault

Kochi/Thiruvananthapuram: Separate cases have been registered in Kerala against popular Malayalam actors Jayasoorya and Maniyanpilla Raju following an allegation raised by a female actor that they had sexually assaulted her, police said on Thursday.

A senior police official from Ernakulam said an FIR under Section 354 of the Indian Penal Code was registered at the Fort Kochi police station against Raju.

The Cantonment police in Thiruvananthapuram confirmed that a case under the same section was registered against Jayasoorya.

Multiple FIRs have been registered against many high profile Malayalam film personalities following allegations of sexual harassment against various directors and actors in the wake of revelations in the Justice K Hema Committee report.

The complainant, who has appeared in a handful of movies, levelled sexual abuse allegations against prominent actors M Mukesh, who is also an MLA, Jayasurya and Maniyanpilla Raju, as well as small-time actor Idavela Babu who held a prominent role in the actors' association.

In a Facebook post, the woman actor had said, "I am writing to report a series of incidents of physical and verbal abuse I suffered at the hands of 1 Mukesh 2 Maniyan Pilla Raju, 3 Idavela Babu, 4 Jayasoorya (Jayasurya), 5 adv Chandrasekaran, 6 production controller Noble and Vichu, in the Malayalam film industry."

"In 2013, I was subjected to physical and verbal abuse by these individuals while working on a project. I tried to cooperate and continue working, but the abuse became unbearable," the actress, in her Facebook post, alleged.

A rape case was registered last night against prominent Malayalam actor and ruling CPI(M) MLA Mukesh following the female actor's allegation that he sexually assaulted her years ago.

Reportedly, cases were also registered against the other accused too.

On Wednesday, Thiruvananthapuram Museum police had booked actor Sidhique for allegedly raping an actress in a hotel eight years ago.

The first case, under IPC Section 354 (assault or criminal force on woman with intent to outrage her modesty), was against director Ranjith on a complaint by a female actor from West Bengal regarding an incident which occurred in 2009.

Following the allegation by the actor, Ranjith had resigned from his post as chairman of the state-run Kerala Chalachitra Academy.

Sidhique had also resigned as general secretary of the Association of Malayalam Movie Artists (AMMA) following the allegations against him.

The Justice Hema Committee was constituted by the Kerala government after the 2017 actress assault case, and its report revealed instances of harassment and exploitation of women in the Malayalam cinema industry.

Amidst allegations of sexual harassment and exploitation cropping up against several actors and directors, the state government on August 25 announced the establishment of a seven-member special investigation team to probe them.

Subsequently, more complaints surfaced.

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• Prayan Talks About 'station 5' Movie

ന്യൂ ഇയർ റെസൊല്യൂഷനോ? ഞാൻ അത്രക്കാരനല്ല

മാപ് ഫിലിം ഫാക്ടറിയുടെ ബാനറില്‍ ബി.എ.മായ നിർമ്മിച്ച ' സ്‌റ്റേഷന്‍ 5' ജനുവരി 7- ന് തിയറ്ററുകളിൽ എത്തുന്നു. ' തൊട്ടപ്പന്‍ ' ഫെയിം പ്രിയംവദ കൃഷ്ണനാണ് നായിക. ഡയാന ഹമീദും ശക്തമായ കഥാപാത്രമായി എത്തുന്നു. പ്രധാന കഥാപാത്രത്തെ അവതരിപ്പിക്കുന്നത് പ്രയാണാണ്. സിനിമ വിശേഷങ്ങളുമായി പ്രയാൺ ചേരുന്നു., അനുബന്ധ വീഡിയോകള്‍.

'Footage' movie review: A technically sleek film that’s refreshing despite the roadblocks

Right from the beginning of 2024, Malayalam cinema has been exploring new territories in both form and content. Starting with the National Award-winning Aattam in January, the following months witnessed several successful and bold attempts, including films like Bramayugam , Manjummel Boys , and Gaganachari .

The latest addition to join this bandwagon of innovative endeavours is Footage , the directorial debut of seasoned editor Saiju Sreedharan. This film marks Malayalam cinema’s first mainstream venture into the niche genre of found footage.

Footage opens with the legendary Colombian author Gabriel García Márquez’s line on compartmentalising our lives: “All human beings have three lives: public, private, and secret.” The film follows a vibrant and inquisitive vlogger couple, played by Vishak Nair and Gayathri Ashok, who document almost every aspect of their daily lives, including their intimate moments.

The story spans a year between 2020 and 2021 when the world was grappling with the COVID-19 pandemic. Although it touches on the topic of loneliness caused by the lockdowns and restricted movement, it barely delves into the harsh realities of the time—and rightly so. The entire film, presented as pieces of evidence of a crime, unfolds through the couple’s camera footage. While the first hour is shown from the boy’s perspective, the latter is seen through the girl’s camera.

True to its promotional materials, which indicate that it is intended only for adults, the film’s first shot is an explicit lovemaking scene featuring a random couple that is captured in broad daylight from one of the buildings opposite their residence. This establishes Vishak and Gayathri’s characters as people who would not think twice before invading other people’s privacy. They live on their own terms in a seemingly beautiful love nest of an apartment.

The only apparent poster on their wall is of Kamala Surayya, popularly known by her pen name Madhavikutty, whose unconventional existence starkly contrasted with the times she lived in. The protagonists, who remain unnamed throughout the film, are driven by a relentless curiosity, documenting anything that piques their interest.

In what feels like a homage to The Blair Witch Project (1999), one of the most popular found footage films, the couple also explore urban legends in their leisure time to present their limited YouTube subscribers. Unlike the genre’s convention of incorporating supernatural elements, Footage steers towards a rational narrative refreshingly.

That being said, like many other films in the genre, Footage also stumbles in terms of its writing, as the narrative is told solely from a first-person viewpoint. Even though Saiju and Shabna Mohammed’s screenplay makes an effort to overcome this roadblock by warming up the audience to the lead characters’ idiosyncratic psyche as a couple, the moments showcasing their unconditional love often fall short, due to their stagey tête-a-tête.

Vishak and Gayathri try their best to make the couple believable with their chemistry in the characters’ implicit moments, adorned by the band as we keep searching’s beautifully understated soundtrack. The actors also do a fine job with the voice work, conveying their characters’ tension through gasping breaths as they find themselves in a predicament.

Footage works best during the first hour as the couple begins investigating Manju Warrier’s character, a mysterious doctor possibly scarred by her past, as Gayathri’s character expresses during one of her inorganic and angsty rants against society. The intrigue and tension created by Saiju’s excellent mood-building in these portions exemplify his craft as a filmmaker to look out for.

Shinoz’s cinematography and Nixon George’s sound design also contribute to making Footage a technically sleek film, notwithstanding the inevitable shaky camera movements. Watch out for a brilliantly choreographed fight sequence, shot upside down as a static wide shot inside a forest, right before the interval between Manju and one of the lead actors where the film peaks.

However, the film starts overstaying its welcome in the second hour as we delve deeper into the couple’s lives until they find themselves in this predicament involving Manju’s character. Even at just over two hours, the film ends up feeling stretched beyond its threshold, as the second hour adds little that is creative. The portions involving a housemaid, who works at both Manju’s and the couple’s houses, only contribute to deterring the film’s pace.

Even the conclusion or the payoff surrounding Manju’s character—thankfully not abrupt—lacks imagination, prompting the question, ‘That’s it?’ Despite these shortcomings, Manju, playing a role without a single line of dialogue, does a commendable job employing her eyes alone to express her character’s unstated anger within her limited scope in the narrative. Her agility, too, is a force to be reckoned with.

Movie: Footage

Director: Saiju Sreedharan

Cast: Manju Warrier, Vishak Nair, Gayathri Ashok

Rating : 3/5

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‘September 5’ Review: Taut, Media-Critical Control-Room Drama Reveals How a Hostage Crisis Forever Changed TV News

Peter Sarsgaard and John Magaro play members of an American TV crew covering the 1972 Olympic Games in Munich, when a real-world terrorist attack forces them to make tough calls.

By Peter Debruge

Peter Debruge

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On Sept. 5, 1972, millions watched a tense international hostage situation unfold live on ABC television, as members of a militant Palestinian faction calling itself Black September infiltrated the Olympic Village in Munich, Germany, and held the Israeli team hostage. In “ September 5 ,” we watch the sports crew of an American TV network step up to the challenge of covering such a monumental event. For better or worse (be assured, the movie leaves room for debate), their decisions made history, as the incident fed on media attention, and ABC became the first network to broadcast an act of terrorism on live TV.

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The seasoned shot-caller here is Roone Arledge ( Peter Sarsgaard ), who springs into action the moment gunshots are fired off-screen, insisting, “We’re not giving this story to News. … Sports is keeping it.” Thirty years later, in his obituary, The New York Times described Arledge as “the most important behind-the-scenes figure in the television coverage of the major events of the last half century, from the Olympics to the boxing matches of Muhammad Ali in the 1960’s to the Iranian hostage crisis of 1979-80.”

“September 5” takes us behind the scenes of the 17-hour ordeal to see why that is true, beginning shortly before the attack, until just after the tragic finale, when Wide World of Sports host Jim McKay famously confirmed the chilling news, “They’re all gone,” on air. Still, as an in-the-trenches account of how ABC Sports approached the story, the film focuses primarily on a young, ambitious producer (played by a period-appropriate-looking John Magaro) whose actions are directly informed by veteran sports broadcaster Geoffrey Mason’s memories of events.

The ABC Sports team is tiny and almost entirely male, with the exception of a German-speaking crew member named Marianne (“The Teacher’s Lounge” star Leonie Benesch) who plays an important role throughout. The way she’s treated — and repeatedly underestimated — on account of her gender brings yet another layer of critique to the movie’s complex power dynamics, which reach upward to the more cautious corporate players, like operations manager Marvin Bader (Ben Chaplin).

ABC Sports may have gotten the story, but they also got it wrong, prematurely repeating an unconfirmed report that the hostages were recovered safely. Moritz and Fehlbaum’s matter-of-fact script lacks the punchy pressure-cooking sparring quality of inside-baseball series such as “The Morning Show” or Aaron Sorkin’s “Sports Night,” which can leave one feeling like the real story is happening elsewhere — and it is, since there’s only so much that news crews can extrapolate from telephoto lenses trained on a faraway balcony.

When events like that are happening live, our imaginations tend to fill in what can’t be seen with the worst. In this case, revisiting it half a century later, knowing what happened in advance doesn’t preclude us from wanting to better know what happened. But this movie’s insights are limited to the newsroom: the significance of the words “as we’re hearing,” versus the reality of what transpired during the climactic disaster at Fürstenfeldbruck airbase (as detailed in Kevin Macdonald’s excellent, Oscar-winning doc “One Day in September”).

“This isn’t a competition,” the higher-ups remind, but it’s hard to convince the Sports division of it. This is the Olympics, after all, where everyone’s bent on winning and the rules are being written as they go.

Reviewed at Paramount executive screening room, Los Angeles, Aug. 12, 2024. In Venice, Telluride film festivals. Running time: 94 MIN.

• Production: (Germany) A Berghauswöbke Film, Projected Picture Works production, in co-production with Constantin Film, ERF Edgar Reitz Filmproduktion. Producers: Philipp Trauer, Thomas Wöbke, Tim Fehlbaum, Sean Penn, John Ira Palmer, John Wildermuth.
• Crew: Director Tim Fehlbaum. Screenplay: Moritz Binder, Tim Fehlbaum. Camera: Markus Förderer. Editor: Hansjörg Weißbrich. Music: Lorenz Dangel.
• With: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch. (English, German dialogue)

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Footage Movie Review: A technically sleek film that's refreshing despite the roadblocks

Footage ( 3 / 5).

Right from the beginning of 2024, Malayalam cinema has been exploring new territories in both form and content. Starting with the National Award-winning  Aattam  in January, the following months witnessed several successful and bold attempts, including films like  Bramayugam, Manjummel Boys,  and  Gaganachari . The latest addition to join this bandwagon of innovative endeavours is  Footage , the directorial debut of seasoned editor Saiju Sreedharan. This film marks Malayalam cinema’s first mainstream venture into the niche genre of found footage.

Director: Saiju Sreedharan Cast: Manju Warrier, Vishak Nair, Gayathri Ashok Footage  opens with the legendary Colombian author Gabriel García Márquez's line on compartmentalising our lives: "All human beings have three lives: public, private, and secret." The film follows a vibrant and inquisitive vlogger couple, played by Vishak Nair and Gayathri Ashok, who document almost every aspect of their daily lives, including their intimate moments. The story spans a year between 2020 and 2021 when the world was grappling with the COVID-19 pandemic. Although it touches on the topic of loneliness caused by the lockdowns and restricted movement, it barely delves into the harsh realities of the time—and rightly so. The entire film, presented as pieces of evidence of a crime, unfolds through the couple's camera footage. While the first hour is shown from the boy’s perspective, the latter is seen through the girl’s camera.

True to its promotional materials, which indicate that it is intended only for adults, the film’s first shot is an explicit lovemaking scene featuring a random couple that is captured in broad daylight from one of the buildings opposite their residence. This establishes Vishak and Gayathri's characters as people who would not think twice before invading other people's privacy. They live on their own terms in a seemingly beautiful love nest of an apartment. The only apparent poster on their wall is of Kamala Surayya, popularly known by her pen name Madhavikutty, whose unconventional existence starkly contrasted with the times she lived in. The protagonists, who remain unnamed throughout the film, are driven by a relentless curiosity, documenting anything that piques their interest. In what feels like a homage to  The Blair Witch Project  (1999), one of the most popular found footage films, the couple also explore urban legends in their leisure time to present their limited YouTube subscribers. Unlike the genre's convention of incorporating supernatural elements,  Footage  steers towards a rational narrative refreshingly.

That being said, like many other films in the genre,  Footage  also stumbles in terms of its writing, as the narrative is told solely from a first-person viewpoint. Even though Saiju and Shabna Mohammed's screenplay makes an effort to overcome this roadblock by warming up the audience to the lead characters' idiosyncratic psyche as a couple, the moments showcasing their unconditional love often fall short, due to their stagey tête-à-tête. Vishak and Gayathri try their best to make the couple believable with their chemistry in the characters' implicit moments, adorned by the band aswekeepsearching's beautifully understated soundtrack. The actors also do a fine job with the voice work, conveying their characters' tension through gasping breaths as they find themselves in a predicament. Footage  works best during the first hour as the couple begins investigating Manju Warrier's character, a mysterious doctor possibly scarred by her past, as Gayathri's character expresses during one of her inorganic and angsty rants against society. The intrigue and tension created by Saiju's excellent mood-building in these portions exemplify his craft as a filmmaker to look out for. Shinoz's cinematography and Nixon George's sound design also contribute to making  Footage  a technically sleek film, notwithstanding the inevitable shaky camera movements. Watch out for a brilliantly choreographed fight sequence, shot upside down as a static wide shot inside a forest, right before the interval between Manju and one of the lead actors where the film peaks.

However, the film starts overstaying its welcome in the second hour as we delve deeper into the couple's lives until they find themselves in this predicament involving Manju's character. Even at just over two hours, the film ends up feeling stretched beyond its threshold, as the second hour adds little that is creative. The portions involving a housemaid, who works at both Manju's and the couple's houses, only contribute to deterring the film's pace. Even the conclusion or the payoff surrounding Manju's character—thankfully not abrupt—lacks imagination, prompting the question, 'That's it?' Despite these shortcomings, Manju, playing a role without a single line of dialogue, does a commendable job employing her eyes alone to express her character's unstated anger within her limited scope in the narrative. Her agility, too, is a force to be reckoned with.

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