As a film enthusiast with a keen eye for character-driven narratives and a soft spot for stories that delve into the human condition, I found “Aattam” to be a profoundly moving and thought-provoking cinematic experience. Anjali, portrayed masterfully by Shihab, is a character who resonated deeply with me, not just because of her harrowing experiences, but also because of her resilience, empathy, and capacity for friendship.
2024’s cinematic trend of exceptional films delving into theatrical themes persists with the release of Aattam. Unlike the previous American independent films Ghostlight and Sing Sing, which focused on how plays can heal emotional wounds, this film by Anand Ekarshi employs a theater group as a symbol reflecting a larger chilling societal issue. The members of this group, including a lone woman, portray the silencing of survivors of sexual assault/harassment to preserve the current order. The ease and complacency of onlookers, who prefer not to challenge their comfortable reality, take precedence over fundamental concerns such as checking on the well-being of these survivors.
The tale unfolds as these performers, including Anjali (Zarin Shihab), Vinay (Vinay Forrt), and prominent actor Hari (Kalabhavan Shajohn), who joined the troupe only two years prior, deliver another captivating performance. Following this triumph, they indulge in a night filled with merriment, drinking, partying, and celebration at a luxurious residence. However, the morning arrives to find Anjali missing from their company. What’s more, all male members of the acting ensemble (except for Hari) are summoned for an urgent meeting.
In this setting, Madan (Madan Babu K) discloses an unsettling incident where Hari allegedly invaded Anjali’s privacy and inappropriately touched her through a window last night. Vinay and several others, including the elder Aji (Aji Thiruvamkulam), swiftly demand Hari’s expulsion from the group due to his disrespectful actions towards Anjali. They firmly believe that if Hari cannot treat Anjali with basic human decency, he has no place in this group, full stop. However, many other men question Anjali’s story, suggesting she may have been dressed a certain way that somehow “provoked” Hari, or that she could be lying for attention. Various derogatory remarks aimed at discrediting victims of predatory behavior surface in this discussion. Some even claim Anjali’s attire at the time influenced Hari’s self-control. Others, like Jolly (Jolly Antony), choose to remain silent and refrain from taking any side.
In the narrow confines of Aattam’s setting, most of the action unfolds within a single house, where the male characters engage in heated discussions about their disagreements. Notably, Anjali reappears later on-screen, significantly influencing the narrative. Ekarshi skillfully emphasizes each main character by adding subtle nuances to make them uniquely distinct. The acting ensemble exhibits captivating diversity. This individualization is evident not only in those who question Anjali’s story but also in their reasons for doubt, which are influenced by starkly contrasting circumstances. Remarkably, even those seemingly supportive of Anjali resort to thoughtless language that dehumanizes.
The distinct traits of each Aattam character add depth to their realistic portrayals, making them seem as complex and vivid as real people standing beyond a cinema screen. The limited scope of the narrative enables Ekarshi to extract the most dramatic impact from every conceivable revelation. Details such as Vinay being aware of Anjali’s predicament before informing his fellow actors would easily be overshadowed in a larger production. With the camera focusing mainly on just a few rooms within a house, each lie or slanderous remark lands with the force of a knife stabbing the heart.
In Ekarshi’s screenplay, viewers find themselves inside Anjali’s mind, even when she is off-screen. The characters Vinay, Madan, and Aji, whom Anjali trusts, serve as beacons of reason for the audience during scenes where other male characters disregard Anjali’s viewpoint. When Anjali reappears in the storyline, this aspect of the screenwriting becomes even more evident. The most heart-wrenching moments in Aattam arise when both the audience and Anjali come to understand how few allies she has in her cherished work environment.
The troupe’s absence of backing ultimately leads them to face the possibility of journeying abroad to perform their play. However, Hari’s role is indispensable – he’s the one who orchestrated this international project, making it dependent on his participation. This intriguing narrative serves as another example of why individuals accused of sexual misconduct often continue to thrive. When there’s something to be gained from these offenders, the voices of sexual assault victims are frequently silenced. The same dynamics at play in Louie C.K.’s current sold-out shows are mirrored in the production of Aattam, albeit in a very thoughtful manner.
In a unique and thought-provoking manner, the plot twist in “Aattam” showcases its skill in narrating a tale on the topic of sexual trauma. It’s not merely a story about appalling acts against a woman; it delves into the troubling normalization of such actions within our society. Contrary to most mainstream films about survivors, “Aattam” does not prioritize perspectives from individuals unaffected by this trauma. Instead, it places Anjali’s perspective at the forefront, making it a groundbreaking work in comparison to typical narratives that often cast victims of sexual violence as secondary characters, serving primarily to propel male protagonists into action. Even recent films like “She Said” from 2022, which centers on reporters investigating Harvey Weinstein’s abusive behavior, position survivors as supporting characters.
In the movie, Anjali is thoroughly immersed in every aspect of Aattam. Ekarshi’s screenplay, with its compassionate perspective, is evident in how the film slows down to delve into Anjali’s life beyond her male colleagues. This is most clearly shown in an early scene at the lavish party. Anjali invites Shajitha (played by Nandini Gopalakrishnan), one of the few other women on this trip, and her daughter to share a bed with her. Instead, Shajitha urges Anjali to join them, rather than sleeping on a couch. Their heartwarming exchange ends with Anjali embracing Shajitha and expressing her appreciation for another woman being present.
In the film Aattam, the harrowing experiences of Anjali at the hands of Hari are not explicitly shown, but instead, focus is given to aspects of her life untouched by trauma. For example, her friendship with Shajitha and her thoughtful personality are emphasized through the film’s visual narrative. This scene becomes even more captivating due to the powerful bond between Shihab and Gopalakrishnan, whose relationship exudes genuine concern and warmth towards each other. They appear protective of one another, attentive to each other’s needs. On the other hand, the male characters in the film seem to view the women with a sense of self-gratification. The question seems to be more about what Anjali can do for them rather than the other way around or how women can contribute positively to their lives.
Shihab’s skill as a performer is highlighted by the differences in his interactions, which mirror a striking contrast found in several instances. For example, the moment between Anjali and Shajitha in comparison to how men treat Anjali recalls a comparable disparity in “Killers of the Flower Moon.” In Martin Scorsese’s movie, Mollie Burkhart (played by Lily Gladstone) shows affection for her sister Anna (Cara Jade Myers) while disregarding the oil beneath their feet. What truly matters to Mollie is her sibling, not the oil. This tender moment stands in stark contrast to the brutal treatment between white murderers like Ernest Burkhart (Leonardo DiCaprio) and William King Hale (Robert De Niro). Although they share blood ties, their actions are driven by capitalist interests rather than affection. In both situations, a pocket of compassion offers a poignant and tragic contrast to the capitalist-influenced dynamics within the privileged class.
If Aattam evokes feelings akin to watching a contemporary masterpiece by Martin Scorsese, then this production must have done something remarkably well. The captivating acting, especially that of Shihab, plays a significant role in achieving such success. A single late scene where she rides alone on a bus, her face subtly expressing a storm of contrasting emotions, is truly a spectacle to witness. She serves as an exceptional foundation for the entire project. Kudos also go out to performers like Forrt and Antony. They skillfully unveil their characters’ layers in a natural manner. Each new revelation about Vinay or Jolly feels like a natural progression of what we already understand, not a forced deviation from established character traits.
In terms of its outstanding cast, powerful use of staging, and heartrending finale, the film Aattam excels as both a gripping thriller and a poignant, haunting depiction of the various manifestations of abuse faced by survivors of sexual trauma. You feel the suffering at the time of the assault, but there’s also the dehumanization that follows from society and men. Aattam tackles this heavy subject matter with great skill. This latest work from Anand Ekarshi adds to the trend in 2024 cinema of films focusing on stage performers. However, it stands out as a film that stays with you long after the credits have ended.
Aattam is now streaming on Amazon Prime Video in the U.S.
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2024-09-16 19:15