A Bold Experiment That Thrills but Falls Short of Greatness
Malayalam cinema has never shied away from pushing boundaries, and Footage, released in August 2024 and re-released in Hindi in March 2025, is a testament to that adventurous spirit. Directed by Saiju Sreedharan, a celebrated editor making his directorial debut, this found-footage thriller stars Vishak Nair, Gayathri Ashok, and the enigmatic Manju Warrier. Set during the COVID-19 pandemic, it follows a vlogging couple whose curiosity about their mysterious neighbor spirals into a perilous adventure. With its innovative format and technical prowess, Footage promises an immersive experience—but does it deliver a story worth the hype? Let’s dive in.
A Fresh Take on a Familiar Genre
Footage stands out as one of the first found-footage films in Malayalam cinema, a genre popularized globally by films like The Blair Witch Project. The narrative unfolds entirely through the lenses of two cameras operated by the unnamed couple (Nair and Ashok), who document their lives for a small YouTube audience. Their voyeuristic tendencies—spying on neighbors, exploring abandoned places—set the stage for their fateful obsession with the woman downstairs (Warrier), whose secretive behavior piques their interest. What starts as a quirky peek into others’ lives turns into a tense chase through a forest, complete with a haunted house, a stormy night, and a revenge-driven climax.
The first half is where Footage hooks you. The shaky, first-person perspective immerses you in the couple’s world, from their intimate moments to their reckless curiosity. Sreedharan, leveraging his editing expertise, crafts a rhythm that’s both chaotic and captivating. The sound design by Nixon George—muffled underwater echoes, rustling leaves, and thunderclaps—amplifies the tension, making you feel like you’re right there with them. A standout sequence is the upside-down fight scene in the forest, a technical marvel that showcases the film’s ambition. Vishak Nair and Gayathri Ashok shine as the free-spirited duo, their chemistry grounding the early absurdity of their actions.
Where It Stumbles: Narrative and Pacing
For all its technical flair, Footage struggles to maintain its grip past the interval. The reveal of Manju Warrier’s character—a mute woman with a tragic past seeking vengeance—shifts the tone from mystery to a more conventional thriller. While her silent performance is haunting, relying solely on expressive eyes and handwritten notes, the screenplay (co-written by Sreedharan and Shabna Mohammed) doesn’t flesh out her backstory enough to make her arc resonate. The couple’s entanglement with her feels more like a plot device than a natural progression, leaving gaps that undermine the emotional stakes.
The second half drags as the novelty of the found-footage style wears thin. Long stretches of the couple’s personal life—meant to establish their bond—feel indulgent and disconnected from the core conflict. The forest chase, while visually striking, leans on predictable beats: a dilapidated boat, a confrontation, and a resolution that’s more tame than the buildup suggests. At 124 minutes, the film overstays its welcome, a sentiment echoed in online chatter where viewers praise the visuals but lament the lack of a tighter script. It’s as if Footage prioritizes style over substance, sacrificing narrative depth for atmospheric thrills.
Technical Triumphs and Performances
Where Footage undeniably excels is in its craft. Shinoz’s cinematography captures the eerie beauty of the forest and the claustrophobia of the couple’s apartment, while Sreedharan’s editing ensures the found-footage aesthetic feels authentic without being disorienting. The post-rock soundtrack by keep searching adds a moody, modern edge that complements the film’s tone. These elements make it a theatrical experience worth savoring, though the shaky camera might test some viewers’ tolerance—a fair warning for the motion-sensitive.
The performances are a mixed bag of brilliance and limitation. Nair and Ashok carry the film with their believable chemistry, portraying a couple whose quirks (and occasional cringe-worthy banter) feel lived-in. Manju Warrier, in a bold departure from her usual roles, delivers a compelling silent act, but her character’s underdevelopment hampers the impact. The supporting cast, including a housemaid linking the protagonists, feels like an afterthought, slowing the pace further.
A Reflection on Voyeurism and Modernity
Thematically, Footage offers a sharp commentary on our obsession with documenting life. The couple’s mantra—“keep your camera on and record everything”—mirrors a society where experiences aren’t real until they’re shared online. It’s a critique of voyeurism, both theirs and ours, as we watch their intrusion unravel into danger. Yet, the film doesn’t fully explore this idea, opting for thrills over introspection. The pandemic setting adds a layer of isolation, but it’s more backdrop than substance, missing a chance to deepen the story.
Final Thoughts: Worth the Watch?
Footage is a bold experiment that showcases Malayalam cinema’s willingness to innovate. It’s a technical achievement—sleek, immersive, and audacious—that proves Sreedharan’s directorial promise. But its narrative inconsistencies and uneven pacing keep it from greatness. Fans of the found-footage genre will appreciate its fresh take, while casual viewers might find it a mixed bag: thrilling in bursts, tedious in lulls. Rated a 3.5 out of 5, it’s a film best experienced on the big screen for its sound and visuals, though you’ll wish the script matched the ambition. Footage doesn’t quite land the knockout punch, but it’s a commendable swing that leaves you curious about Sreedharan’s next move.
