The point Moothon starts off at and the story it ventures into eventually are
so fundamentally different that any details would take away from the experience.There is no
question about the ambition of the film. It is hard to pin down the film to a particular genre or 
language. It is as much a Hindi film as it is Malayalam. It is a drama, a mob flick and a social
commentary. It should also be noted that Malayalam star Nivin Pauly has redefined himself to play a
challenging role that challenges conventions, both of the industry and how films are
made. <br><br>
Moothon is set in a peaceful part of Lakshadweep. However, we are quickly introduced to the world of the
protagonist Mulla, an introverted kid. Bullied at school and ready to be sent away from the island
by his caretaker, he yearns for an identity. The story of Mulla in itself is harrowing, but as
soon as the audience starts to settle with the lush cinematography and the tranquil, slow life of
the island, the film takes an interesting turn.<br><br>
From them on, it is a film that covers new ground constantly and very competently. Its focus is never on one place or a particular story. Ultimately, it tackles the life of the island and juxtaposes it with
Mumbai, its underbelly and crime syndicates.
<h2>Influences are easy to find in the narrative. The film evokes memories of Salaam Bombay. The mob children
run around like in City of Gods, the villains and heroes are active volcanoes like in Satya.
Additionally, Anurag Kashyap staples can be found as well, but not with the earnest heart they come with in his
directorial ventures. </h2>
Mumbai is seen at its darkest, dingiest and most volatile. The brilliant cinematography of Rajeev
Ravi keeps the claustrophobia of Mumbai’s crowded and coagulated spaces intact, while maintaining meticulous attention to detail. The editing is fine-tuned, but the pacing of the film takes a hit, no less thanks to its unorthodox script that goes back and forth between high octane chase
sequences to peaceful conversations on a beach. The background score
too is a nuisance in an otherwise smart film. It dictates the feeling a scene must have,
ultimately having the opposing effect. <h2>
The actors, however, drive the point home. Pauly can blow up and sit in silence with the
same effect, and Roshan Mathew stuns with his elegant vulnerability. The child actors work well
within the film and Shashank Arora delivers yet another great performance. </h2>
The narrative never unfolds in its entirety. Geetu Mohandas brilliantly withholds information and
introduces red herrings, visually and with the story. The film
ventures into themes that are unimaginable in its first act, and eventually provides the audience with memorable twists. However, despite being an ambitious film that will haunt you long after you are done watching it, Moothon remains a hard film to watch with no light
at the end of the tunnel. <br/><br/>
<b><i>Written by <span class="text-gradient">Nimish K Sharma</span></i></b>  

Moothon | Review | Anurag Kashyap, Nivin Pauly, Shashank Arora, Sobhita Dhulipala

The fact that this short film was made in fifty hours as part of a filmmaking contest deserves special mention. Add to it an experimental, almost dreamlike treatment by Aditya Sharma and Parallax succeeds at disconcerting the viewer with its portrayal of abusive relationships and violence against women. <br><br> A strong performance by Deeksha Joshi is another aspect that earns appreciation. The film applies the parallax effect to the visuals to bring to life a narrative that emphasises its theme 'Everything is Connected'. As women continue to navigate their presence in public spaces and at home, Parallax becomes a skilled and relevant take on gender, consent and sexual violence.

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