Balan Movie Review: 4/5 ★★★★☆
Balan opens with something you would not expect from a typical drama. The camera moves slowly over crayon drawings made by a child. For a moment, it feels warm and innocent. Then you realize these drawings are on the wall of a prison cell, and the boy who made them lives there with his mother. That single scene tells you exactly what kind of film you are about to watch.
This is the story of a mother and her son who are constantly running from their past. They change their names, their homes, and their identities again and again, just to stay one step ahead of whatever they are hiding from. The boy keeps asking his mother one question throughout the film. What is my new name this time, and what is our new story? Every time, she gives him a different answer. It is a small detail, but it hits hard once you understand why he keeps asking.
Farzana Palathingal plays the mother, and she carries the emotional weight of the film with quiet strength. The role of the son is shared by two young actors, and both manage to bring out the fear and confusion of a child who has seen far more than any kid should. There is also a feisty, bedridden grandmother in the mix, played with great energy, who adds unexpected humor to an otherwise heavy story.
What stands out most is how the film handles time. Early on, there is a montage showing the mother and son moving from place to place, taking on new identities each time. It is done so smoothly that you immediately feel how unstable and risky their life is. Later, the story jumps forward by several years, and somehow that transition feels just as natural.
Writer Jithu Madhavan, known for his work on Aavesham, has perhaps written his sharpest script yet. He never spells out the psychological damage the boy is carrying. Instead, you see it in his eyes and in the small, troubling choices he makes when things go wrong. The film never judges its characters. It simply tries to understand them, and that approach makes a real difference.
There are some genuinely clever moments scattered through the story, like the casual reveal of a policeman’s questionable past, or a betrayal scene where the person being betrayed says something so full of love that it stays with you long after the credits roll. The only place the film stumbles is near the end, where one character is sacrificed a little too conveniently just to push the plot forward.
Every actor in this film pulls their weight. Tovino Thomas appears only briefly, but he makes the most of it, delivering one of his finest performances in recent memory. The supporting cast, including Jean Paul Lal and Beena Antony, also leave a mark despite limited screen time.
Behind the camera, the technical team deserves just as much praise. Sushin’s background score knows exactly when to hold back and when to swell, matching the mood of every scene perfectly. Cinematographer Shyju Khalid gives the film a visual richness that adds to its emotional pull without ever feeling showy.
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With Balan, Chidambaram delivers his third strong film after Jan-e-Man and Manjummel Boys. What is impressive is that he does not repeat himself. Each film feels different, yet all carry his clear command over storytelling. You walk out of the theater thinking about these characters and wondering what comes next for them, even though the film itself ends on a complete and satisfying note rather than teasing a sequel.
At a time when most films seem desperate to set up a franchise, Balan trusts its story enough to give it a proper ending. That confidence, combined with strong writing and even stronger performances, makes this one well worth watching on the big screen.
The film loses half a point for that slightly forced “collateral damage” moment near the climax, but everything else, the writing, performances, music, and visuals is close to flawless. A strong recommendation for the big screen.
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