Director Vishnu B Beena's latest film, Chavu Kalyanam (Celebration of Death), offers a sharp, comedic look at the absurdities that unfold within a family during a funeral. The movie was recently showcased at the 30th International Film Festival of Kerala (IFFK), drawing attention for its unique narrative style and thematic depth.
A Funeral Unveils Family Chaos
The plot revolves around the death of Korappan, the patriarch of a joint family, portrayed by Panikkal Jayanandan. His passing brings a host of relatives to their ancestral home, ostensibly to mourn. However, the gathering quickly devolves into a hotbed of long-simmering grievances and petty conflicts. The film cleverly juxtaposes the solemnity of death with the living's self-absorbed dramas.
Disputes over ancestral property distribution, access to the family well, and tangled romantic relationships surface almost immediately. What begins as muted tension escalates, threatening to tear the family apart. The narrative is presented through a mockumentary format, where characters frequently break the fourth wall to speak directly to the camera, offering their biased perspectives on events.
What Sets Chavu Kalyanam Apart
While the film joins a lineage of Malayalam movies set around funerals, such as Ee Ma Yau and the recent Vyasanasametham Bandhumithradhikal, it carves its own niche. Vishnu B Beena maintains a controlled chaos, never allowing the narrative to become overwhelmingly loud or farcical. The humour is largely situational and dark, woven seamlessly into the fabric of the story rather than imposed upon it.
The film opens with the premise that Korappan's granddaughter, Deepa (played by Paski), has written a memoir. A documentary crew is interviewing her relatives, who are subjects in her book. This device allows for hilarious contrasts between how characters perceive themselves and the reality shown to the audience. For example, cousin Ajay's (Abhimal Dinesh) grandiose claims about his "true love" with cousin Meghna (Theja Lakshmi S) are undercut by scenes revealing the naive and somewhat delusional nature of their relationship.
Characters and Their Hidden Agendas
The strength of Chavu Kalyanam lies in its ensemble cast, where no one is purely evil, but almost everyone is self-serving. Ajay's parents are preoccupied with property and the well. A relative visiting from the Gulf uses the funeral as an excuse for a sexual getaway with his wife. Meghna is primarily concerned about the lack of non-vegetarian food during the mourning period. Deepa, still rebuilding her life after a failed marriage, focuses on her PhD.
Throughout the 72-minute runtime, the late Korappan remains a spectral presence. He is remembered differently by everyone—as a master brewer, a generous neighbour, or a wise grandfather—highlighting how his legacy is filtered through the selfish lenses of the living. The technical crew, including Nithin George's music and Sreehari Radhakrishnan's cinematography, effectively accentuates the film's tonal shifts and emotional beats.
Critique and Cultural Commentary
The film does not shy away from critique. It has been noted for its problematic portrayal of female characters, with many women depicted predominantly as instigators of gossip and conflict. Furthermore, while it shows the negative consequences of a cousin marriage through Deepa's story, the film's overall treatment of incestuous relationships has been called into question for normalisation.
Ultimately, Chavu Kalyanam presents a microcosm of familial dynamics, suggesting that homes can be both a source of comfort and conflict. It posits that love, however strained, can find a way to mend fractures, though it acknowledges this is a subjective and not universal reality. As a crisp, dark comedy premiering on a prestigious platform like the IFFK, it marks an interesting entry in contemporary Malayalam cinema's exploration of domestic life and human folly.
