Christo Tomy’s debut feature film, Ullozhukku (Undercurrent), is an astutely observed portrait of how unvirtuous choices can have unforeseen and lifelong repercussions. The drama avoids a simplistic black-and-white portrayal of its two principal characters; there are no villains or saints in the filmmaker’s tale of two ordinary women doing their best in an increasingly difficult situation. Ullozhukku explores a moral crisis and its consequences for a mother-in-law and daughter-in-law forced into a strained relationship. Tomy remains a sharp, economical storyteller and avoids any overly dramatic embellishments within the story. The audience’s window into the world of Ullozhukku rests completely on the shoulders of its two leading actresses, Parvathy Thiruvothu and Urvashi, and is anchored by their splendid performances.   

Ullozhukku released theatrically in June 2024 and is currently available to stream on Amazon Prime Video. In this interview, Tomy discusses his writing process, the representation of women in a conformist society and the drill of mounting a women-centric film.

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Dipankar Sarkar: At what stage in your life did you decide to become a filmmaker?  

Christo Tomy: Even though I used to watch films very ardently from childhood, it was during higher secondary that I decided I wanted to pursue filmmaking. A few days ago, I met a friend from my school years who reminded me of how I used to excitedly recall scenes from films like Gladiator (2000). At that time, I hadn’t realized my passion for films. I had different aspirations then, like becoming an Indian Police Service (IPS) officer or joining the army. So, I decided to drop out of my engineering training, which disappointed my parents. I remember my mother sitting beside me, crying, the day I made the decision. At that age, you are very idealistic and think anything is possible. My biggest dream was to study at the Film and Television Institute of India (FTII) or the Satyajit Ray Film and Television Institute of India (SRFTI). I used to follow filmmakers who studied there, many of whom made remarkable films in Kerala in the 80s and 90s. To achieve this dream, I knew I needed a graduation, so I completed my degree in Mass Communication, intending to get into one of these film schools. It was on my second attempt that I made it into SRFTI. That one year of waiting was difficult, with many people telling me I was wasting my time, but I didn’t want to study anything else. I just wanted to do this.

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DS: So, how did the Satyajit Ray Film and Television Institute of India help nurture you to become a filmmaker?

CT: When I got admission to the film school, it was like a dream come true at that point in my life. Once I settled in, it felt like a dream space for someone in love with films. From morning to evening, our classes were all about filmmaking. There was an evening screening at six, and you could rent DVDs and watch them again late into the night in the hostel. There were many books on filmmaking, and you could spend hours, even days, in the library, which had a great collection of books on cinema. There were also a lot of international magazines like American Cinematographer and British Journal of Photography to gorge on. For any aspiring filmmaker, this was a great space to be in.

Another memorable aspect of film school was that my batch was short of two direction students, so I got to make more films than usual. I made two short films and two music videos. This was my biggest takeaway from film school; [an] opportunity to make these films and learn from the process, as such facilities are rare outside, especially in the early stages. My student films did well. Virgin (2015), won a National Award for Best Debut Film, and my diploma film, Sweetheart (2017), won another National Award for Best Direction — the Swarna Kamal. After winning the first national award, there was lots of pressure on me to ensure my diploma film was good, and I struggled with the idea for a long time. But overall, the experience of making films was invaluable, as was being immersed in cinema 24/7, just studying, watching and discussing it. Those were some of the best years of my life.

My perspective on films evolved while I was at the institute. Initially, I wanted to make more experimental, auteur films. However, my short film with a narrative did well, so I pursued that style more, and my diploma film, also a short narrative, did very well too. My goals and approach to filmmaking evolved during my years at SRFTI. Notable figures like Anil Mehta, a cinematographer, often conducted workshops there, making it a great experience and privilege to study at the institute.

During my time at SRFTI, I had a very good mentor in Putul Mohamed, who was my teacher. We had long discussions about films, and she was a strong influence on me. She went the extra length, giving feedback, reading scripts multiple times and introducing me to her husband, Amitabh Chakraborty, an acclaimed editor and filmmaker. I want to remember her from my film school days for her significant impact on my journey.

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DS: From your student projects to the Netflix documentary Curry & Cyanide: The Jolly Joseph Case (2023), and now Ullozhukku (2024), all your works focus on female characters. 

CT: I have been asked this question a lot ever since my diploma film won the National Award for Best Direction. I don’t have a very clear answer for this. Many times, I feel it’s just accidental that most of my projects have a woman at the center.  During the development of certain projects, I asked myself, “For whom is this journey going to be more difficult, a man or a woman?” Specifically, in Sweetheart and Ullozhukku, I realized that the journey would be more difficult for a woman, so I explored that further.  But other than that, it’s not always a conscious choice. For instance, Curry and Cyanide is a project that came to me. I didn’t choose it because it had a woman at the center. I chose it because the story was fascinating. Even now, a new project has come to me with a woman at the center of it. So, a lot of it is accidental.  I also want to refer to something Urvashi, who acted in Ullozhukku, mentioned in one of his interviews as an answer to this question. She said that maybe while growing up, I was a very sensitive child who observed the family and the relationships between family members very closely. That could be why I often have a woman character at the center of my stories. I don’t remember her entire answer, but I think her perspective would be the closest to explaining why my films often feature women at their core.

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DS: How did you come across the story of moral conflict between a woman and her mother-in-law for your debut feature film?  

CT: The premise of the film, which is about a family waiting for the monsoon flood to subside to hold a funeral, is inspired by an event from my life. My mother’s house is in Kuttanad Muttar, which you see in the film. It floods there every year. During one of the floods in 2005, my grandfather passed away, and we had to wait with his body for eight or nine days to do the funeral. This experience inspired the premise of the film. When I started developing the story in 2016, after film school, I also took inspiration from things that happened around me or stories I heard. I wanted to explore family, relationships and secrets within that context. I looked at various incidents within the circle of family and extended family, and the story evolved organically from there. While writing the characters, I drew from people I knew in real life. For example, I took traits from certain people I knew for Leelamma and Anju. These characters are influenced by real people, both women and men. Once the initial crux of the story was figured out, it was about going in-depth to understand the characters and the premise. This development process took several years. I worked on it at the NFDC Screenwriters Lab and continued refining it afterwards. I believed that if something could be done to make the script better, I should do it. I rewrote the script countless times. It was through this process of constant rewriting that I was able to delve deeply into the characters and the story.

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DS: Before Ullozhukku’s title appears, a montage shows key phases in the protagonist’s life. Why did you begin the film with these prologue-like scenes?  

CT: Honestly, that evolved because I didn’t have the prologue exactly like this at the beginning. Some of the scenes were written and placed differently in the script. Some flashback scenes came up as flashbacks initially. But when we were at the editing table, we decided on this structure because it had much more impact and helped us understand Anju better. It allowed us to present events in a certain way and then shine a different light on them later. Certain scenes, like the marriage scenes, had to be there because they were crucial to what happens later. It was important to see the marriage in the beginning when things seemed normal and perfect, only to realize later that things were not as they appeared. Some scenes were essential to understand Anju better when certain revelations are made later in the story. It was during the edit, specifically the second cut, that we figured out this structure. There was originally another scene in between, but we removed it to cut directly from the sari scene to the marriage scene for better storytelling impact. Even Abhishek Chaubey, one of the producers, saw it and thought it was modern and bold. 

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DS: Ullozhukku occurs in the isolated backwaters of Kuttanad, where relentless rains flood the homes. Does this geographical setting convey any symbolic significance in the story?  

CT: So, basically for me, when I started writing the story, that was the premise. It was one of the things that hooked me to this idea that I wanted to tell a story of a people waiting in a flooded house with a dead body. That single idea was the reason why I wanted to make this film and to start with. Whenever I tell that story to somebody, everybody is kind of hooked on that. Like, you know, you have not seen something like that before. Everybody kind of responded to it in a very good way because everybody thought it was kind of unique. So, that was the kind of milieu and atmosphere that I wanted to capture. Purposely, the flood in the film is like a character that adds drama to whatever is happening. It puts pressure on these people to act and make a decision quickly as things are at stake. The story happens because there is a flood and the family has to come to this house and wait for the funeral. If something like that has not happened, you know, they would just do the funeral and go their different ways. They don’t have to get stuck in a house for these many days. It also increases the intensity. Another thing that I [wanted to reflect upon) was this flood [as a] metaphor for the inability of these people to let go of the things that happened in the past — their inability to forgive each other after knowing all the secrets and life. 

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DS: As the story unfolds, we discover that the ethical quandary Anju and Leelamma face is not only due to their actions but also lies hidden by other family members. Does this suggest that individual misery can arise from conforming to societal expectations?  

CT: I do not want to make a blank statement on this. I’m just a filmmaker trying to tell a story. We indeed live in a society with systems, and some of them are very conservative. A lot of times, we have to abide by them just to avoid friction or conflict. Many people find different ways to deal with it. Some just let their dreams go to avoid conflict, while others pursue their dreams despite the conflict. In every society, there are certain value systems in place. But a social scientist could articulate this better. I aimed to understand these people deeply and tell a story with all its complexities. Often, when telling a story, we simplify it. Instead, I aimed to present a story with its complexities and sophistication. In my film, you’ll see that at some point, everyone was right in their actions yet also wrong in some way. This complexity reflects real life where everyone is flawed. I believe this is what happens in real life — conflict arises due to societal pressures, values or family expectations. Rather than calling it misery, I’d say it leads to conflict. But I think that’s what life is about. If everything aligned perfectly with society, family and friends, life wouldn’t be like that. Conflict and friction are part of life as values change, and our desires evolve independently or are influenced by values. This is a fundamental aspect of life, and while its shape and form may change, we can’t escape it.

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DS: We only learn a little about Thomas Kutty’s background, though he plays a key role in the film. Why did you choose to maintain this ambiguity around his character?  

CT:  So, in the beginning stages of the script, there were a couple of scenes about him. But as I rewrote it, I realized that we don’t need to know that much about him for this story. Also, now that the film has been released and all, looking back, because we don’t know much about him, it has a greater impact when you hear different versions of him from others. The dilemma has one perspective, and later Anju offers another. Since we don’t see much from his point of view, these perspectives carry more weight. The story focuses on the relationship between Anju and Leelamma. Thus, it’s more crucial to understand what they think of him and their relationship with him, rather than his perspective. When I write, I always consider what’s essential for the story, the drama and the relationships of the central characters.

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DS: Rajeev has ambitions but cannot fulfill his plans due to financial constraints. He understands that if Anju is to rebuild her life with him, economic stability is a must. Does that make him a very practical guy, or is he looking to secure his future through Anju?  

CT: I think from Rajeev’s standpoint, he’s also struggling in life. Maybe it’s because of the person he is. When you first see him, he’s unable to make ends meet or have a stable life. He doesn’t have enough financial stability, to put it bluntly. As the story develops, we see he’s still in the same position. But he now has Anju as a lover, and a lot has happened which has changed the dynamics of their relationship. At the same time, he knows that for survival, this is important. I think it comes from his need for a better life — not just for himself but also for the child and Anju. He feels this need from his state of helplessness. He also believes that, from his point of view, she betrayed him the first time around. Of course, she had her reasons — family pressures and Rajeev’s lack of financial stability — but from his perspective, she betrayed him. Despite this, he accepted her again when things were tough for her. So, he feels she owes him at least this much — to prioritize him over everyone else and do this for him. His helplessness due to his financial situation and his belief that she should reciprocate if she loves him enough are the reasons he feels compelled to ask for what he wants in the end.

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DS: How did MacGuffin Pictures come on board as producers?  

CT: At the 21st International Film Festival of Kerala, I saw A Death in the Gunj (2016), produced by MacGuffin Pictures. At that time, I was still in film school and thought it would be great if they produced my first film. I didn’t know much about them then and later forgot about them. When I won the Cinestaan India’s Storytellers Contest in 2018, I pitched the story to many people during a session where people from most of Bombay’s important studios were present. Honey Trehan from MacGuffin Pictures was also there. A few days later, Cinestan sent an email saying Honey would like to read the synopsis. I sent it, and he liked it enough to ask for the full script. After reading it, he called me wanting to direct it because he’s also a director. That’s when I clarified that I intended to direct it myself and he offered to produce it. I was thrilled to hear that. Around that time, I was working with a producer from Kerala, who also had great things to say about Honey. This sentiment was also echoed by others in Mumbai, which isn’t common. However, Honey got busy with his film Raat Akeli Hai (2020) in post-production and couldn’t start our film immediately. He suggested I go with other producers in the meantime. While exploring other avenues for the film, one night, I woke up to several missed calls from Honey around 2 a.m. I called him back in the morning, and he asked if I had signed the script with someone else, to which I replied “no.” He expressed his interest in producing and asked if I could come to Bombay in two days. I hesitated due to financial constraints, but he offered to pay half the flight cost. We met, discussed [the production] and started negotiating contracts. However, just as we were gearing up to shoot the film during the June to August window, COVID-19 hit, causing chaos. Honey also faced challenges finding another investor. Eventually, RSVP Movies came on board. Throughout this process, I’ve developed a great relationship with Honey and Abhishek. Honey, more than just a producer, values relationships and does things that a typical producer wouldn’t. He’s been very supportive and human in his approach. I believe Honey is a great storyteller, and working with both him and RSVP has been a blessing. Even RSVP, who hadn’t previously produced a Malayalam film was convinced to join because of Honey’s enthusiasm. 

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DS: What was your experience working with two leading actresses, Parvathy Thiruvothu and Urvashi, in the Malayalam film industry?  

CT: The experience has been great because they are two of the best actors in the industry, and it would be a dream for anybody to work with them. Urvashi has been a legend; we grew up watching her films, so it’s a dream come true moment to work with her. Parvati has been one of the greatest actors of the last decade in Malayalam cinema. Having both of them together would be anybody’s dream cast. I was able to bring them together for the first time despite their long careers; they hadn’t shared a frame before. It was fulfilling for me to achieve that. There are scenes, especially at the beginning of the film, where Urvashi’s performance leaves you in awe of the magic she brings. She’s very spontaneous; one moment, she’s laughing and joking, and the next, she’s deeply immersed in an intense scene. Her wealth of life experience adds honesty and depth to her performance. Parvati, on the other hand, is a meticulous actor who thoroughly prepares for her scenes before coming to set. This makes editing easier because she gives consistent performances from different angles, providing ample cut points. Both actors brought their vision to the characters; they embodied Leelamma and Anju in their respective ways. We shot the film chronologically, allowing me to witness them truly inhabit their characters, making decisions based on their characters’ traits and beliefs throughout the film. This culminated in the climax scene, born out of extensive discussions and interactions. What was once on paper transformed into magic before my eyes. Working with these two incredible actors has been a tremendous learning experience for me.

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DS: Kiran Das’ editing sustains the inherent tension in Ullozhukku while also allowing the smooth flow of the narrative.  

CT: I approached Kiran right at the beginning when we were figuring out the crew and everything. He agreed, and once shooting began, the process involved his assistant Joseph, who served as the associate editor. He would assemble the scenes, and after a few days of shooting, we’d review the edits together. Joseph also stayed with us in the same complex, so we had regular sessions to check how the edit was shaping up. If I had any doubts about a scene, we’d discuss it and sometimes send it to Kiran for his input.  When it comes to editing, Kiran is very instinctive, which was immensely helpful. He excels at identifying emotional moments and manipulating them effectively, finding the right balance and pacing. I tend to be more methodical and take my time, so our collaboration benefited from this blend of approaches. It was a great experience working with him.

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DS: How did you and your cinematographer, Shehnad Jalal, plan to utilize the limited space and create drama in confined settings of the interiors?  

CT: So, Shehnad and I go a long way back. He was my senior at the Film Institute, though I joined much later after he had passed out. We had met a few times before discussing the script of this film. Jayadeva Chakkadath, who did the sound design, suggested his name when I was assembling my crew. I had seen his work in Chitra Sutram (2011) and was always impressed by his unique vision as a cinematographer. When we started working on this film, he became more than just a cinematographer; he was a constant companion throughout this journey, even before we had a producer or funding. During the uncertain times of COVID-19, we explored places like Kuttanad, which he had never visited before. We discussed a lot about films, and I showed him scenes that I admired. He sometimes pointed out the lack of uniformity in my choices, highlighting different approaches to scenes. Despite this, we always focused on intense performances — a common thread in the scenes I loved. Unlike my previous films where I meticulously planned shot divisions, I trusted Shehnad more in this project. We would approach scenes collaboratively, adjusting shot divisions and designs on the spot, sometimes with input from the actors. He was incredibly flexible and accommodating throughout. My approach to each scene was simple: what is the most impactful way to capture it, be it through angles, lighting, mood or movement? We would discuss this extensively before shooting, even for scenes set in enclosed spaces. We found ways to add subtle choreography while preserving the essence of the performances. Shehnad understood the importance of performance-oriented filmmaking and worked to enhance the actors’ performances. This collaborative spirit and his deep understanding of filmmaking and teamwork were invaluable. We had previously collaborated on Curry & Cyanide: The Jolly Joseph Case where he also handled cinematography. This shared history and understanding were crucial during this challenging shoot, especially in scenes involving water and complex setups during floods. He was meticulous in his approach, ensuring the crew’s safety while striving for the perfect shot and composition. His commitment to the film and its vision was unwavering, always prioritizing the story over visuals. Working with him was a pleasure, and his reputation for strong lensing, lighting and cinematography, seen in films like Bhoothakulam (2022) and Bramayugam (2024) amongst others, speaks for itself.

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DS: The sound design by Jayadeva Chakkadath and Anil Radhakrishnan, along with the background score by Sushin Shyam, effectively heightens the emotional moments of Ullozhukku.

CT:  I think the film’s sound evolved during the shooting and the process of sound design. While shooting, we did a sync sound recording. Our goal was to capture the themes of the film through dialogue effectively. In the design phase, rain played a significant role throughout with varying intensity. The concept was inspired by real-life experiences: when indoors during a rainstorm, after a while, you stop noticing the rain as your focus shifts to conversations and activities around you. So, we followed a similar kind of approach where initially you hear the rain in a very audible manner but later it’s designed in such a way that how your subconscious kind of reacts to your surroundings. Sushin’s music played a complementary role. He excels at identifying which emotions resonate within a scene. During editing, when we conveyed specific emotions to him, he would sometimes suggest adjustments if the emotion didn’t translate effectively. He also recognized moments where no music was necessary. Sushin’s collaboration with sound designers Jayadeva Chakkadath and Anil Radhakrishnan was instrumental in creating the film’s evocative sound design. His music intensified emotions significantly; after viewing the final product, both the team and producers were enthusiastic about how the music elevated the emotional impact of the film.

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DS: The screenplay of Undercurrent won first prize at Cinestaan India’s Storytellers Contest in 2018 and has since been selected for various screenwriting labs. Now that the film is released, how would you describe the journey?

CT: I think it was a very difficult journey for me. The process was long and challenging, often lonely. There were moments when I felt like I couldn’t continue. COVID played a role in delaying the film and being a female-led production added to the budgetary challenges. We had a narrow window each year for shooting, and missing it meant waiting another year. We were about to shoot, and 10 days before, the shoot got cancelled, and we had to rebuild everything from scratch again. We shot in my mother’s house. My family had been living in a rented house for a few years. At one point, they asked that what they should do? Should they move back? I said they could move back because I didn’t know when the film would happen. So, it was a very hard and long journey. Looking back, if I had known how difficult it would be, I might not have started this journey. At that time, I was unaware of the industry’s business intricacies, especially the challenges of funding and producing a female-oriented film. Now, I am more knowledgeable and less idealistic. Despite the hardships, I’m proud of the film. I made it without compromises, giving it my best effort. Every film has flaws, but I had the best crew and cast, making me proud of what we achieved. The film generated unexpected buzz on social media and in articles, sparking conversations about its themes. The reception exceeded my expectations. We had a strong opening, one of the biggest for a female-led film, and it’s now released worldwide. It’s been rewarding, though it was one of the toughest journeys of my life. Of course, I made the Netflix show simultaneously, but it took eight years for me to make this film. If you [asked if I would have] embarked on this journey if I had known then how difficult it would be, maybe I wouldn’t have. But having said that, I am now a different filmmaker. I want to explore different genres — I don’t want to go back and make Ullozhukku again. Perhaps an action film, or maybe a crime thriller. I’m eager to pursue diverse projects. I have evolved as a filmmaker and as a person during this journey.

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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