Barring some glorious exceptions, an utter pointlessness marks a good number of the zillion vlogs that get uploaded online every day. Often documented for the viewing pleasure of the public are the mundane details from the daily lives of the vloggers. But, some of them do spring surprises for those patient enough to sit through the uneventful visuals.
In his debut directorial effort, film editor Saiju Sreedharan uses the found footage of a vlogger couple (played by Vishak Nair and Gayathri Ashok) to tell a story which, if told in a conventional format, might not have carried much novelty. This choice of format inevitably introduces inconsequential sequences from their daily lives, but it simultaneously imparts a sense of being a part of the risky adventures they embark on.
Right from the onset, the film intimates us about the couple’s habit of prying into the lives of others. Their compulsive documentation extends to their intimate moments, many of which hold little relevance to the main narrative. The first half of the film unfolds through visuals captured from the man’s camera, while the latter half showcases similar scenarios from the woman’s perspective, filling in numerous gaps left by her partner’s footage. The duo, cameras always rolling, decides to follow a mysterious woman (played by Manju Warrier) living in their apartment complex, which inevitably lands them in trouble.
Saiju, who has edited some of the most acclaimed films of the past decade including “Maheshinte Prathikaaram,” “Kumbalangi Nights,” and “Virus,” leans heavily on the experimental element to drive the narrative forward. Unfortunately, this approach is not helped by the sparse screenplay and thin material. The central characters hold onto their cameras even in moments of danger, providing visuals that convey the immediacy of the threats they encounter.
The film is replete with shaky camera footage capturing running feet, sequences shot at odd angles, and immersive scenes set in dark forests amid harsh weather conditions.
. Some standout sequences include a close encounter with wild elephants and tense moments inside a rusty old boat amid a forest. The intricate sound design enhances these scenes, while songs from the post-rock band Aswekeepsearching inject some life into otherwise pointless sequences.
Manju Warrier’s character, introduced as a mysterious woman, retains her enigmatic veneer throughout the film as her character is grossly underdeveloped. Without a single line of dialogue, viewers are left to wonder whether she is mute or if she simply prefers to communicate via handwritten notes. The revenge drama at the core of the plot is decidedly clichéd and would not have stood out in a more traditional film format.
Despite its innovative approach, “Footage” suffers from its lack of substantive writing to complement its experimental cinematography. As one of the first feature films in the Malayalam cinema to utilize the found footage genre, it might have left a lasting impression had the writing been stronger. Unfortunately, the weak screenplay and underdeveloped character arcs undermine the film’s potential.
In summary, “Footage” offers a unique viewing experience through its experimental use of the found footage format but ultimately falls short due to its thin plot and weak character development. For fans of the genre, it might still be worth a watch for its technical prowess and for the innovative effort put forth by Saiju Sreedharan and his team. However, for the average moviegoer, the film’s novelty quickly wears thin, leaving much to be desired.
“Footage” is currently running in theatres, marking its place in Malayalam cinema’s exploration of new storytelling techniques, but it leaves viewers wishing for a more compelling narrative to match its experimental promise.
