A Poetic Idea Lost in Shallow Storytelling
In Theatre: The Myth of Reality, writer-director Sajin Baabu explores the fragile coexistence between faith, nature, and modernity through the lives of two women on a secluded island. The film begins with Meera (Rima Kallingal) and her mother (Sarasa Balussery), who live in isolation, holding on to ancestral traditions and superstitions. They find solace in their tranquil surroundings-an island that houses an ancient snake temple and teems with the pulse of untouched nature. Yet, their quiet world is soon disrupted when circumstances push them into the chaos of the outside world.
Unlike Sajin Baabu's earlier works like Biriyani, which displayed a daring narrative voice, Theatre feels more restrained and uneven. The filmmaker presents an intriguing theme of human displacement and moral decay, but the storytelling lacks the emotional and structural depth needed to make it compelling. The idea is there, but the craft doesn't rise to match its potential.
The film's opening acts beautifully capture the mother and daughter's life amid the monsoon's fury. Meera, practical and determined, wants to move to a rehabilitation camp, while her mother stubbornly refuses to leave their ancestral land, believing that abandoning it would anger the serpent gods. Meera's daily routine-plucking coconuts and jackfruits, selling them at the market, and cautiously interacting with others-adds authenticity to the narrative. Her private encounters with men who visit her secretly at night expose her yearning for connection and freedom.
When Meera is bitten by an insect, her health deteriorates rapidly. The local Panchayat member (Krishnan Balakrishnan) and the shopkeeper (Pramod Veliyanad) take her to a hospital in the city, thrusting her into an unfamiliar world. Meanwhile, her mother clings to her faith, wanting to return to the island to appease the gods. Meera's illness soon becomes an online spectacle when a vlogger (Dain Davis) uploads her videos, sparking viral attention and a global crowdfunding campaign. The film cleverly highlights how social media's voyeurism exploits human suffering while masking it under the guise of compassion.
Despite its relevant themes, Theatre remains emotionally distant. The screenplay only skims the surface of its subject, turning a deeply human story into a somewhat mechanical narrative. The film's pacing drags, and its commentary on faith and media sensationalism feels underdeveloped.
Rima Kallingal, however, delivers a commanding performance, portraying Meera's physical endurance and inner turmoil with conviction. Sarasa Balussery is equally striking as the mother torn between faith and loss. Their performances inject sincerity into an otherwise uneven film. Technically, Syam Prakash's visuals beautifully capture the island's mystique, while Appu N. Bhattathiri's editing could have benefited from tighter rhythm to sustain engagement.
In essence, Theatre: The Myth of Reality is a film with a soulful idea and solid performances, but its shallow execution and uneven narrative prevent it from becoming the profound exploration it aspires to be.
