Fazil Razak’s debut feature filmThadavu (The Sentence) follows Geetha (Beena R. Chandran), an underprivileged woman facing societal rejections due to her poverty and mental health struggles. The 2023 Malayalam movie prompts viewers to contemplate the ethical dilemma of empathizing with or judging the protagonists for her life decisions. Razak effectively portrays Geetha’s emotional journey with subtle intrigue as she navigates challenging situations and confronts the constant threat of psychological relapse in an unsupportive society.

Thadavu had its world premiere at the Jio MAMI Film Festival. At the 2023 International Film Festival of Kerala, it won both the Rajata Chakoram award for Best Director and the Audience Poll Award. In this interview, Razak delves into Thadavu’s intricate structure, his technical expertise and the vibrant filmmaking culture in Kerala.

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Dipankar Sarkar: What ignited your interest in filmmaking, and how did your experience in short films contribute to your ability to direct a feature film?

Fazil Razak: I’ve been passionate about cinema since childhood, and I always wanted to understand the magic behind it. Over the past five years, I’ve made hundreds of short videos, including ad films, wedding videos, college union videos, short films for spot competitions and independent short films. It has helped me in developing a clear understanding of all the departments involved in filmmaking, and has significantly sped up my process. This knowledge proved invaluable when I made my first feature film.

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DS: Why did you decide to make your debut with a film that explores the challenges and issues faced by a middle-aged working woman and her resilience in overcoming life’s odds?

FR: Primarily, my focus was on delving into the comlexities of human emotions. The genesis of this film stemmed from the individuals in my immediate surroundings. Subsequently, I engaged in a dialogue about this concept with my team and principal cast. The enthusiastic and positive feedback I received from all parties further fueled my determination. Moreover, the central character of the narrative began to linger in my thoughts, leaving an indelible impression. It became imperative for me to prioritize and bring this vision to fruition.

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DS: Two secondary characters play significant roles in Thadavu: the elderly female co-passenger in a crowded bus, with whom Geetha has a silent confrontation, and Moidu (Vappu), the old man who robs a local bank and takes Geetha’s daughter as a hostage. What did you intend to convey through these two characters?

FR: These two characters exert dual influences on Geetha’s journey. The woman who poses challenges for Geetha at various junctures transforms into a pivotal ally by the film’s conclusion. Their unexpected encounter on a bus marks a turning point, with Geetha letting the woman rest her head on her shoulder. Shifting the focus to Moidhu, his presence consistently intertwines with Geetha’s life during moments of crisis. Geetha loses custody of her daughter because Moidhu robs a bank. Paradoxically, it is the very same Moidhu who serves as a wellspring of inspiration, propelling Geetha towards a daring adventure in her life. So, both the woman and Moidhu remain constants in her life.

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DS: In Geetha’s tumultuous life, her two close friends — Hamza (P.P. Subramanian) and Uma (Anitha M.N.) — go to great lengths to help her in times of distress. What influenced your decision to create a supportive duo comprising both a man and a woman?

FR: In reality, Beena Chandran, P. P. Subramanian and Anitha M.N. are genuine friends, and their camaraderie has significantly influenced my scriptwriting. While the characters in the film may vary, the enduring essence of their strong friendship is seamlessly woven into the narrative, infusing an additional layer of authenticity and depth to the story.

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DS: Geetha joyfully practices a skit for an upcoming school function with kids at the Anganwadi. However, later on, she shoulders the blame for the death of a child. Having already lost custody of her younger daughter to her second husband, Geetha later develops a strained relationship with her elder daughter from her first marriage. Could her life have been less chaotic if she had nurtured better relationships with children?

FR: Geetha has faced setbacks in various aspects of her life, not just in building connections with children. Nevertheless, she is determined to overcome these challenges and forge ahead.

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DS: In moments of adversity, Geetha swims. During happier times, she chooses to capture joyous moments on her phone camera, featuring her family members playing in the water. Despite Sreekutty’s invitation to join a swim during these cheerful occasions, Geetha consistently refrains. Does swimming play a functional role in her life?

FR: Certainly. Geetha finds comfort and releases her grief through swimming. Interestingly, she avoids swimming during joyful moments, perhaps a habit ingrained since childhood.

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DS: Geetha’s strained relationship with her second husband leads her to defy the magistrate’s orders and secretly meet her daughter. Surprisingly, despite filing a previous police complaint in the past, her first husband hasn’t completely disowned her and remains sympathetic. What inspired the contrast in attitudes between the two significant men in Geetha’s life?

FR: Individuals around us vary in many ways, with no clear distinction between male and female. In Geetha’s case, one partner constantly grapples with challenges, while the other patiently waits for her. However, Geetha doesn’t fully embrace either of them, leading to her estrangement from both husbands.

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DS: Thadavu ends with Geetha achieving success in her decisive plan. However, even if her treatment is completed, and she is released from imprisonment, the question remains: will Geetha be able to embark on a fresh start in her life?

FR: The interpretation is entirely in the hands of the viewer, depending on their emotional foundation. The ending of the film serves as a canvas where a new life might either bloom or falter, with possibilities wide open.

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DS: What inspired your choice of casting Beena R. Chandran in the role of Thadavu’s protagonist?

FR: Beena R. Chandran, who worked in my previous short films, left a distinctive impression with her unique acting prowess. I watched her performances with a mix of curiosity and awe. From the moment I conceived the film’s storyline, Chandran naturally became the ideal protagonist in my mind.

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DS: During the pre-production of Thadavu, did you have a specific cinematic style in mind regarding framing and camera movement?

FR: After finishing the script, the visual design of the film began to take shape. As I engaged in discussions with the cinematographer, I aimed for a visually captivating experience. The goal was to intimately witness and feel the characters. To achieve this, we predominantly used handheld shots and a 35mm lens. It was crucial to ensure that the viewer remained immersed in the characters without being diverted by the beauty of the frame.

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DS: Thadavu adopts a straightforward linear pattern in its storytelling. Did you need to refine or work on the structure during the editing process?

FR: No, there was no need for that. The initial intention was to narrate the story in a linear fashion from the outset.

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DS: Thadavu is predominantly structured around ambient sound, providing a realistic feel to the story. However, you also incorporated a background score to emotionally emphasize certain moments. How did you manage to strike a balance between these two elements?

FR: I paid significant attention to the sound department in the film, ensuring that the audio elements contributed to the overall cinematic experience. The entire movie is recorded in sync sound, with the background score employed only in specific, pre-determined moments established during the writing phase. [Thadavu] unfolds in sync with the progression of Geetha’s emotions. I engaged in extensive discussions with the sound designer and music director to ensure a thorough understanding and effective execution of the film’s soundscape.

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DS: In 2023, the Malayalam film 2018 was chosen as India’s official entry for the 2024 Academy Awards. Do you see this as a positive sign of the reception of Malayalam Cinema in the current cinematic landscape?

FR: I view Mollywood as an industry that consistently produces some of the finest films in the country. Malayalam cinema has a rich history of delivering artistic films. The selection of the Malayalam film 2018 as India’s official entry to the 2024 Academy Awards serves as a significant inspiration for the industry.

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DS: Given the circumstances, how do you envision the future of independent cinema in Kerala?

FR: Kerala is a place that embraces all kinds of films. Not only do commercial films thrive here, but independent films also receive great acceptance, particularly in festivals like IFFK. I hope this trend continues in the future. Many individuals are eager to pursue independent filmmaking; however, it remains challenging for newcomers to secure production support, especially for independent projects.

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DS: What are you currently involved with?

FR: I am currently writing the script for a new feature film.

Dipankar Sarkar (@Dipankar_Tezpur) is a graduate in film editing from the Film and Television Institute of India and currently based in Mumbai. As a freelancer, he frequently contributes to various Indian publications on cinema-related topics.

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