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2018 Movie Review : A thoughtfully crafted movie that tells the story of Kerala's biggest tragedy and its heroes

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‘2018’: Review

By Allan Hunter 2023-12-07T07:00:00+00:00

India’s Oscar submission is a classic drama based on the devastating Kerala floods of 2018

Source: Kavya Film Company

Dir/scr: Jude Anthany Joseph. India, 2023. 126mins

The devastating Kerala floods of 2018 provide the real-life inspiration for Jude Anthany Joseph’s rousing blend of spectacle and soap opera.  Sticking closely to a familiar disaster movie formula, he has created a well-executed, heart tugging crowdpleaser that became the highest grossing Malayalam film of all time on its domestic release earlier this year, and now serves as India’s Oscar submission.

All the markings of a classic Hollywood disaster movie

Joseph himself was caught up in the floods, and his film is a heartfelt tribute to the ordinary heroes who emerged as shared adversity brought communities together. He begins by providing historical context on the unprecedented floods of 1924 (also known as The Great Flood of 99, as it happened in the year 1099 ME in the Malayalam Calendar), and the damage they caused, from the loss of lives to the destruction of the Kundala Valley Railway, which was never rebuilt. Black and white images help to further ground the film. There is a suggestion that lessons were learned from the tragedy, and that the current infrastructure in Kerala means such an event could never happen again.

We are then transported to July 21, 2018 and the village of Aruvikkulam where Anoop (Tovino Thomas) awaits a work visa that will allow him to leave for Dubai. Traumatised by his experiences as a soldier, he has left the army behind. Now, he works in a street shop run by the blind Bhasi (Indrans), providing his employer with commentary on the start of the day and the arrivals at the local school.

In the early stage of the film, Joseph invests a substantial amount of screen time picking out the individuals and human interest stories that will come into sharper focus when the rains come and lives are at risk. Along the way, we are introduced to the new schoolteacher Manju (Tanvi Ram) who catches Anoop’s eye. We meet Nixon (Asif Ali) who has his heart set on a career as a model – much to the disappointment of his father Mathachan (Lal) and brother Winston (Narain) who continue the family’s fishing tradition. Gradually the cast expands to also include irrepressible tour guide Koshy (Abu Varghese) and his gung-ho Polish tourists, alongside television reporter Noora (Aparna Balamurali).

2018  has all the markings of a classic Hollywood disaster movie like Earthquake (1974) or Dante’s Peak (1997). Warnings are ignored, complacency is deep-rooted and nobody fully comprehends the impact of what is about to hit. In time, there is a pregnant woman at risk, a deadly snake at liberty, a young boy with learning difficulties trapped in a flooded building. Only a guitar-strumming nun seems absent from the roll call. 

When the torrential rain arrives the film moves up a gear, becoming a spectacular tale of rising water levels, narrow escapes and heroic sacrifice. The impressive special-effects add to the authenticity and the tension as walls tumble, seas rage, trees crash and houses are swept away. Wide shots of overwhelmed communities and the constant splatter of rainfall are matched by actors who really do appear to have suffered for their art. In a strong, hard-working ensemble cast, Tovino Thomas is a stand-out as Anoop, investing him with all the charm and grinning swagger that would have made Charlton Heston or Burt Lancaster proud.

There is a more serious, sincere side to the film with Joseph incorporating real footage from the 2018 floods which is as dramatic as anything he has staged. He still cannot stop himself tugging at the heartstrings with a daring helicopter rescue and a Spartacus-style sequence when individual fishermen volunteer to spearhead a flotilla of boats as part of the rescue efforts. He constantly punches up the emotional sweep with a stirring, bombastic score from William Francis and Nobin Paul, and a regular sprinkling of tender, uplifting ballads.

2018 wears its heart on its sleeve and succeeds as tense, well-paced popular entertainment. It also carries a more subtle political agenda, critical of some of the official response to the crisis and highlighting the way in which the floods spared nobody, levelling all the inequalities between rich and poor, privileged and ordinary. 

Production company: Anto Joseph Film Company, Kavya Film Company, PK Prime Production

Contact: Anto Joseph Film Company  [email protected]

Producers: Venu Kunnappilly, C.K. Padma Kumar, Anto Joseph.

Cinematography: Akhil George

Production design: Mohadas

Editing: Chaman Chakko

Music: William Francis, Nobin Paul

Main cast: Tovino Thomas, Kunchacko Boban, Asif Ali, Tanvi Ram, Indrans

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A disaster film set during the 2018 Kerala Floods where people from all walks of life faced catastrophic consequences and put in collective efforts to survive the calamity. A disaster film set during the 2018 Kerala Floods where people from all walks of life faced catastrophic consequences and put in collective efforts to survive the calamity. A disaster film set during the 2018 Kerala Floods where people from all walks of life faced catastrophic consequences and put in collective efforts to survive the calamity.

• Jude Anthany Joseph
• Akhil P. Dharmajan
• Tovino Thomas
• Kunchacko Boban
• 98 User reviews
• 9 Critic reviews
• 1 win & 1 nomination

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• Trivia Official submission of India for the 'Best International Feature Film' category of the 96th Academy Awards in 2024.

User reviews 98

• May 6, 2023
• How long is 2018? Powered by Alexa
• May 5, 2023 (India)
• 2018 (Everyone Is a Hero)
• Kerala, India
• Anto Joseph Film Company
• Kavya Film Company
• P.K. Prime Production
• See more company credits at IMDbPro
• ₹300,000,000 (estimated)

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• Runtime 2 hours 30 minutes
• Dolby Digital

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2018 Review: The Real Kerala Story That Brings to Life The Nightmare People Went Through

Curated By : Nishad Thaivalappil

Edited By: Chirag Sehgal

Last Updated: May 27, 2023, 08:18 IST

Mumbai, India

• 5 May 2023 | Hindi
• 2 hrs 15 mins | Mystery
• Starring: Tovino Thomas
• Director: Jude Anthany Joseph
• Music: Nobin Paul

Overall, 2018 is a triumph in Malayalam cinema, showcasing the industry's ability to produce compelling narratives with profound social relevance.

Malayalam cinema has always been celebrated for its unique storytelling and realistic portrayal of characters. And when it comes to real-life stories being told, Malayalam film industry has always been lauded for it. This time, too, Jude Anthany Joseph’s 2018 exemplifies this tradition. The film, which is being coined as the ‘Real Kerala Story’ is based on the catastrophic floods that washed the state of Kerala in August 2018. The movie stars Tovino Thomas, Kunchacko Boban, Indrans, Lal, Asif Ali, Narein and Vineeth Srinivasan, among others in the lead roles. The film takes audiences on a journey that brings to light the events that happened on a dreadful night during the floods of 2018. Though the movie released in Malayalam on May 5, the makers have now released a Hindi-dubbed version.

At the heart of the film is a compelling narrative that not only delves into the challenges people faced during the floods, but it also shows how everyone in Kerala came together to help each other in times of need. The screenplay weaves together multiple storylines, effortlessly blending the personal struggles of the characters with larger societal issues. The script is masterfully crafted, with well-defined characters that evoke empathy and emotional investment from the audience.

The performances in 2018 are nothing less than outstanding. Though everyone in the movie has been exceptional in their roles, one character that stands out in the film is that of Anoop played by Tovino Thomas. The depth and authenticity of his performance is truly commendable, making the character relatable and endearing. The portrayal of how each and every character arch unveils from time to time, and their interactions create moments of both intense drama and heartfelt emotion.

Besides the storytelling and acting, the technical aspects of the film are equally praiseworthy. The cinematography and VFX is visually stunning, capturing the scenic beauty as well as the catastrophe that struck Kerala that year. Each frame attempts to add to the overall aesthetic appeal of the movie. The film’s background score is another highlight that enhances the narrative and evoke a range of emotions.

One of the film’s strongest aspects is its ability to showcase societal issues with subtlety and nuance, and also give a message through scenes which have absolutely no dialogues, but just characters in motion. It seamlessly integrates these themes into the narrative, providing thought-provoking commentary on subjects such as class disparities, and cultural traditions.

In addition to its compelling storytelling, 2018 also excels in its production design and attention to detail. The sets and costumes are authentic, transporting the audience to the specific time and place depicted in the film. The art direction and editing are seamless, maintaining a steady pace and ensuring a smooth flow of the narrative about the incidents that happed in August 2018.

Overall, 2018 is a triumph in Malayalam cinema, showcasing the industry’s ability to produce compelling narratives with profound social relevance. With its exceptional performances, captivating storytelling, and meticulous craftsmanship, this film is a must-watch for cinephiles.

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2018 Movie Review: A Tad Simplistic, But A Thoroughly Moving Reminder About Hope And Humanity

Director: Jude Anthany Joseph

Writers: Akhil P Dharmajan, Jude Anthany Joseph

Cast: Tovino Thomas, Shebin Benson, Kunchacko Boban, Aparna Balamurali, Asif Ali

Early on in Jude Anthany Joseph ’s  2018,  we get an establishing shot we’ve seen so often in our movies that we’re primed to dismiss it as another small-town cliche. We’ve just been introduced to the village folk and the happy, hilly village they’re residents of and right at the centre is a lean chapel. The director uses a crane shot here that takes us up from ground-level until it rests on the cross that overlooks this village. In another film, this is just another symbol to show us how God remains a watchful guardian, ensuring the safety of the people. Yet it takes us more than two hours to understand why Jude chose this particular shot to establish this village. When the entire place sinks in 2018’s deluge, this tall chapel sinks with it too. Not only does it show us the depth of the water that has poured in, but it brings one of the film’s heroes face to face with a statue of Jesus. When all hope is lost, how beautifully poetic is this image to remind us of the many nobodies who doubled up as Gods to become our guardian. 

This feeling of surprise becomes the norm in a film we may have underestimated at the beginning. Not only does the writer-director find clever payoffs for seemingly inconsequential details we may have noticed, but he takes it a step further to ensure that this cleverness is felt in the gut more than in the head. Another such idea is the way we see a roof tile falling into a classroom when a new teacher takes charge. We dismiss this too as a silly joke to show us another crumbling government school. The payoff for this comes later when a helicopter needs to hover over this building, sending these tiles flying all over. Dilapidated sure, yet it is this modest school that becomes a shelter for all those who’ve lost their homes.

One of the many reasons why such moments hit us hard is because Jude chooses to split the film into a shorter one-hour portion before the interval and then a longer uninterrupted sequence that focuses on thrilling rescue operations. The sound of rain (Vishnu Govind has done the sound) becomes such a constant in the background here that we’re hit with silence the second we cut to a time and place without rain. Not just in terms of sound, but the juxtaposition between places evolves organically to give us the feeling of an event that’s bigger than Kerala and the characters we’re rooting for. In one shot, we see a family on a boat tearing up as they say goodbye to their home. The very next is the smile of a Tamil girl who is experiencing rain, perhaps for the first time, in her drought-stricken village across the border (the reverse too happens when this girl appears right before a shot of models performing under fake rain in Kerala).

The intermingling of multiple tight storylines do the rest to make sure the film moves with the pace of a thriller, pausing only when it has to underline a strong emotion. Some of these, like the screams of a mute child leading to his family’s rescue, delivers this emotion without it feeling too dramatic. Other sub-plots, like the one involving two quarrelling brothers, do not quite achieve its full dramatic effect. 

But when so many other characters and stories succeed in creating strong connections, we notice how we’re always worried for most of them when the film shifts away from one sub-plot to another for a brief period. Even when some of these stories feel simplistic, often resulting in the kind of ending we’ve predicted, we’re still waiting for its completion to experience the love we have for those people. And with most of these characters following basic redemption arcs, like the scared army officer who wants to display his courage, they work like tiny short films that come together as a whole to hold a larger emotion. 

And these emotions work constantly because there is consistency across all performances. The like-ability Tovino Thomas generates for Anoop works just as well as Asif Ali ’s character, a fashion model who is embarrassed of the fisherman family he hails from. We’re invested in Bhasietttan’s (Indrans) welfare just as much as we’re waiting for Lal to show a symbolic middle finger to the rich man who insulted him earlier. 

Even in terms of the making, you’re always in awe of how they were able to pull it off without us ever feeling the limitations of a set or a relatively smaller budget for this genre. The visuals are captivating too (like a drone shot mirroring a lane of houses, slowly disappearing under water) and you’re able to fully experience the intensity of such a tragedy both in the wideness of scale and in the tiniest of spaces where we feel claustrophobic. If there was one issue with the film it’s perhaps the loudness of the score drowning out events and dialogues that are already loud. 

With the sensitive writing and with several touches that are just as satisfying as a mass hero moment in a mega film,  2018  works effectively as an emotional reminder of a tragedy we may have worked hard to forget. But when this reminder is infused with so much humanity and care, we do not dwell on the losses, shifting our memories instead to the kind of selfless love and care that helped us survive 2018, even if we’ve all gone back to our individual, selfish ways after. The hope and the heroes come rushing back as we witness the story of triumph, told in the most triumphant way. Isn’t this the  real  Kerala Story?  

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‘2018’ movie review: Jude Anthany Joseph’s technically solid recreation of the floods is a message of unity too

Starring tovino thomas, vineeth sreenivasan and aparna balamurali among others, ‘2018’ is a moving reminder of the days when everyone in kerala, irrespective of their religion, caste or their political inclinations, came together to help people in distress.

May 05, 2023 04:27 pm | Updated 05:02 pm IST

A still from ‘2018’

A cinematic recreation of a catastrophic event — one that has touched an entire population one way or the other — places in front of the filmmaker possibilities and pitfalls in equal measure. The images from the unprecedented rains and floods that hit Kerala in 2018 are so fresh in memory, that the movie would easily be rejected if the recreation is not authentic enough. Yet at the same time, that familiarity and the emotions attached to it makes the job of the screenwriter easier as he just needs to create characters with a basic background story to fit into these situations.

In 2018 , director and scriptwriter Jude Anthany Joseph sticks to this method. He spends the shorter initial half of the movie in introducing us to a set of characters who would expectedly be at the centre of the action when the floods hit. When the script gives a little extra focus to Anoop (Tovino Thomas), who has lied about his health condition to abandon military service because he is scared, we know that he would make a brave turn in the hour of crisis, but it still remains a well-written character.

2018 (Malayalam)

Similar is the case when an arrogant man rejects a proposal for his daughter from a fishworker family, and pours scorn on their traditional line of work. We know that this man would learn his lesson when the fishermen arrive with their boats to save his family from the floods. Despite all this, most of these scenes work and leave an emotional impact. Again, the familiarity and the fresh-as-yesterday memories of the harrowing days accentuates the emotions.

As the action shifts into the lengthier half dealing entirely with the floods, the focus is placed almost entirely on a village, which stands in as a microcosm for Kerala and how it overcame the floods unitedly. At places, one does get the feeling of the filmmaker turning up the emotional and dramatic dials beyond the normal limits, especially in the extended scenes of a family having a child with special needs trapped in neck-deep water. But the flood scenes are elevated by their technical excellence, which is an achievement considering the limited budgets in Malayalam cinema. It succeeds at times in making us feel as if we are caught in one of those houses, with the water waiting to burst in. These scenes are so effective that for those who have actually gone through such situations, reliving it could be traumatic.

While the fishermen who became saviours are rightly placed at the centre of the film, 2018 sidelines the efforts of the government machinery during those days, just like how Aashiq Abu did with Virus on how Kerala overcame the Nipah Virus threat.

Jude Anthany Joseph’s 2018 is a moving reminder of the days when everyone in Kerala, irrespective of their religion, caste or their political inclinations, came together to help people in distress. Its humanitarian message and the context of its release somehow elevates the import of this film, making it deserving of the tagline... ‘The real Kerala Story’.

2018 is currently running in theatres

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2018 Movie Review: Stunningly staged, powerfully evocative ode to the resilient spirit

Rating: ( 4 / 5).

Recently, during a casual conversation with an actor, we reflected on how some folks in Kerala, no matter what they have against each other, will come together when the state experiences a grave crisis. And when I mentioned that they might return to their old ways once all the chaos dies down, he reminded me that even if that happens, we can always rely on the hope that they'll reunite if disaster strikes again.

Director: Jude Anthany Joseph

Cast: Tovino Thomas, Asif Ali, Kunchacko Boban, Tanvi Ram, Lal, Narein, Indrans Jude Anthany Joseph's 2018 -- based on the devastating Kerala floods that occurred in the same year -- celebrates this hope. It's a film rich with layers and information. Take the plot thread involving a Tamilian truck driver, Sethupathi (Kalaiyarasan), harbouring a prejudice against Malayalis, set against the backdrop of the Mullaperiyar dam issue and water scarcity. He is not the only one. The most compelling threads, for me, are the ones involving Tovino Thomas (as an ex-army man) and Tanvi Ram (as a teacher and his bride-to-be), Asif Ali (as a struggling model) and Lal (his father), and Vineeth Sreenivasan (an expatriate going through a divorce). Given the presence of the massive cast, much care has gone into moulding the screenplay in a way that respects all its characters. Its ability to make a particular character endearing within a short time is commendable. All these characters are connected in some way. If they aren't, the connection will eventually happen. And nowhere do you feel one character is more important than the other. Even if someone has a short screen time, it doesn't undermine their utility. Though largely linear, the screenplay occasionally goes back and forth, but the coherent construction ensures zero confusion. And having big names occupy some of these 'heroic' characters doesn't necessarily mean all of their arcs culminate in a happy ending. In that regard, 2018 doesn't tread the predictable route. "Everyone is a hero," says the film's tagline. Indeed, but the film doesn't treat anyone as a superhero. But Jude doesn't forget to give us uplifting moments too. There is a neat balance between the upbeat and downbeat moments. The theatre erupted in applause when the fishermen, the real heroes of this story, gathered all their boats to gear up for rescue operations. One can say the same for a scene of two brothers-in-arms acknowledging each other with a salute. Sometimes relief comes from the most unexpected corners. Sometimes it's the most unlikely individual who, at one point, was deemed worthless that astonishes you. 2018 is not only the finest multi-starrer but also the finest disaster thriller to come out of Kerala since Virus (2019) and the most engaging hyperlink film from the state since 2011's Traffic . There is a great sense of urgency, most essential for a disaster-centric movie, especially one based on true events. I came to Kochi in 2018 , and I vividly remember the anxiety in the air -- my contribution included -- when the floods reared their ugly heads in the middle of that year. We heard scary stories that we badly hoped didn't happen to us. There was the constant fear of waking up the next day and finding out that your house was half submerged underwater. And if you were living in a rented house, there was the irrational fear of your house owner leaving town to prioritise their own safety without informing their tenants. So when you see a film that throws at you images of helpless parents with a disabled child struggling to survive or a blind man left abandoned, all in the thick of the night while water levels around them are rapidly increasing, how can you not feel a shiver run up your spine? At a time when even the most privileged were pondering their fates, can you imagine yourself in the shoes of the underprivileged? 2018 explores this class divide at a crucial point when a patriarch, played by Joy Mathew, who earlier dismissed a family of fishermen, is eventually forced to shift to the very place he looked down on because he has no other option. "So what if you have to stay at a camp? There's unity and laughter to be found there," says Nileen Sandra's character in one scene. It goes without saying the film benefits from having a stellar cast that includes the who's who from contemporary Malayalam cinema, such as Tovino Thomas, Kunchacko Boban, Asif Ali, and Vineeth Sreenivasan, in addition to notable appearances from Narein, Tanvi Ram, Lal, Kalaiyarasan, and Indrans. The performances veer slightly towards the cinematic, with some situations resorting to amped-up melodrama to convey tremendous peril, like the one involving Sudheesh and Gilu Joseph. Personally, I would've preferred a more subtle, tone-down approach, but this has always been a characteristic of Jude's films, which always targeted a wider audience. Had he opted for the Virus (the Aashiq Abu film) treatment, I suspect it might alienate a section of audiences for whom the evening teleserial is an unavoidable pastime -- the ones who like a bit of loudness in their movies. Actually, I wouldn't frame this quality as a complaint because how can we say with complete certainty that someone would react in such situations in a certain way? 2018 shows us at least two circumstances characterised by heightened melodrama. Maybe we would've reacted the same way if we had experienced the same. How sure are we of not going beyond our breaking point? It could happen. Cinematographer Akhil George, whose work in Kala impressed me greatly, demonstrates, once again, his supreme photographic skills. With dolly zooms, god's eye views, and the occasional handheld approach, he makes us feel the immense scale and doom-laden atmosphere, all enhanced by convincing practical and digital effects. (Kudos to the technicians behind these stunning results.) We also get some striking juxtaposition of images, like cutting to an ad shoot with artificial rain immediately after showing a Tamil Nadu village dealing with an acute water crisis. In another example, the image of a little girl watching a cartoon house getting flooded with water is matched with the visual of real people gathering elsewhere to see the opening of a dam. Both sides hope to see a spectacle, but the context is different. The film also reminds us not to ignore our four-legged friends. Even a brief flash of a pet dog's face is enough to show that these poor creatures, too, are hoping to be rescued. While on rescue, genuine feelings of peril accompany these sequences, injected with the necessary suspense and dread. One nail-biting night rescue involves a pregnant woman (Vinitha Koshy) and her daughter. This week, there are two major Malayalam releases; strangely enough, it's the one that doesn't deserve any attention that arrived with much fanfare for all the wrong reasons. But when you have another film that propagates unity and compassion and salutes the unforeseen resilience of individuals when planted in the most trying of circumstances, why would one think of watching something that peddles hate and propaganda? Pick wisely.

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കേരളത്തിന്റെ യഥാര്‍ത്ഥ കഥ, അഭ്രപാളിയിലെ പുത്തന്‍ ദൃശ്യാനുഭവം; മസ്റ്റ് വാച്ചാണ് '2018' |  Review

അഞ്ജയ് ദാസ്. എന്‍.ടി, 05 may 2023, 02:20 pm ist.

2018 സിനിമയുടെ പോസ്റ്റർ | ഫോട്ടോ: www.facebook.com/judeanthanyjoseph

മ റക്കണമെന്ന് ആഗ്രഹിക്കുന്തോറും മലയാളികളുടെ ഉള്ളിലേക്ക് തികട്ടിവരുന്ന ദുരന്തമാണ് 2018-ലെ പ്രളയം. പിന്നീടങ്ങോട്ട് ഓരോ മഴക്കാലം വരുമ്പോഴും 2018 എന്ന വര്‍ഷവും ആഗസ്റ്റ് മാസവും ഓരോ കേരളീയന്റെയും ഉള്ളിലെ പൊള്ളലില്‍ നീറ്റലുണ്ടാക്കുന്നു. അത്ര മാത്രമാണ് ആ ദുരന്തം നമ്മുടെയെല്ലാം മനസിനെ ഉലച്ചുകളഞ്ഞത്. നിരവധി പേര്‍ക്ക് ജീവനും ജീവിതവും നഷ്ടമായി. പലരും ഇന്നും ആ ദുരന്തം നല്‍കിയ ഉലച്ചിലില്‍നിന്ന് മുക്തരായിട്ടില്ല. ഈ ദുരന്തത്തിന്റെ കാഴ്ചകള്‍ അതിന്റെ തീവ്രത ഒട്ടും ചോരാതെ വെള്ളിത്തിരയിലെത്തിച്ചിരിക്കുകയാണ് ജൂഡ് ആന്റണി ജോസഫും സംഘവും 2018 എന്ന ചിത്രത്തിലൂടെ.

2018-ലെ ആഗസ്റ്റ് മാസം കേരളത്തിലെ ഓരോരുത്തരും അനുഭവിച്ച ദുരിതം എത്ര മാത്രമായിരുന്നുവെന്ന് ഒട്ടും അതിശയോക്തിയില്ലാതെ, അതിമാനുഷികരല്ലാത്ത കഥാപാത്രങ്ങളിലൂടെ കണ്‍മുന്നില്‍ എത്തിച്ചിരിക്കുകയാണ് ടീം 2018. സമൂഹത്തിന്റെ നാനാതുറകളില്‍പ്പെട്ടവര്‍ എങ്ങനെ ഒരൊറ്റ മനസായി പ്രവര്‍ത്തിച്ചുവെന്നും ആ മഹാപ്രളയത്തെ നേരിട്ടുവെന്നുമാണ് ചിത്രം പറയുന്നത്. പതിയെ തുടങ്ങി ക്രമാനുഗതമായി താളത്തിലേക്ക് വരുന്ന ചിത്രമല്ല '2018'. ഓരോ കഥാപാത്രവും ആരാണെന്നും അവരുടെ വ്യക്തിത്വമെന്താണെന്നും ചടുലമായിത്തന്നെയാണ് ചിത്രം അവതരിപ്പിക്കുന്നത്. കാരണം ഈ കഥാപാത്രങ്ങള്‍ക്ക് എന്താണ് ഭാവിയില്‍ ചെയ്യാനുണ്ടാവുകയെന്ന് ആദ്യമേ തന്നെ പ്രേക്ഷകരില്‍ ഒരു ചിത്രം രൂപപ്പെടുത്തുകയാണ് സംവിധായകനും എഴുത്തുകാരനും ചെയ്യുന്നത്. കഥാപാത്രങ്ങള്‍ക്കൊപ്പം സഞ്ചരിക്കുക എന്നതിലേക്ക് പ്രേക്ഷകനെ എത്തിക്കാനുള്ള ദൗത്യത്തിന്റെ തുടക്കം എന്നും പറയാം.

ഓരോരുത്തരും നായകരാണ് എന്നാണ് ചിത്രത്തിന്റെ ടാഗ് ലൈന്‍. അതുകൊണ്ടുതന്നെ സിനിമയിലെ നായകന്‍ എന്ന് എടുത്തുപറയാന്‍ പറ്റില്ല. വിമുക്തഭടനായ അനൂപും മത്സ്യത്തൊഴിലാളികളായ വിന്‍സ്റ്റണും മത്തായിച്ചനും നിക്സ്റ്റണും പ്രവാസിയായ രമേശും ഡ്രൈവര്‍ ജേക്കബ് കോശിയും എന്നുവേണ്ട ഓരോ കഥാപാത്രങ്ങളും അവരവരുടേതായ രീതിയില്‍ നായകന്മാരാണ്. കേരളം നേരിട്ട മഹാദുരന്തത്തെ അടിസ്ഥാനമാക്കിയാണ് ചിത്രമെങ്കിലും ആ പശ്ചാത്തലം ഉപയോഗിച്ചുള്ള പുതിയൊരു സാധ്യത തേടിയിരിക്കുകയാണ് ജൂഡും സംഘവും. പ്രളയം നാശംവിതച്ച ഭൂമിയില്‍ സംഭവിച്ചേക്കാനിടയുള്ള കാര്യങ്ങളാണ് 2018- സംഘം സ്‌ക്രീനില്‍ എത്തിച്ചിരിക്കുന്നത്. പക്ഷേ, അതെല്ലാം കാണുന്നവര്‍ക്ക് എളുപ്പം റിലേറ്റ് ചെയ്യുന്ന രീതിയിലാണെന്നത് അഭിനന്ദനാര്‍ഹമാണ്.

അഭിനന്ദിക്കേണ്ടവരുടെ പട്ടികയെടുക്കുകയാണെങ്കില്‍ ആ ലിസ്റ്റ് നീളും. എങ്കിലും ചിലരെ മാത്രം എടുത്തുപറയുന്നു. സംവിധായകനും രണ്ട് തിരക്കഥാകൃത്തുക്കളില്‍ ഒരാളുമായ ജൂഡില്‍നിന്ന് തന്നെ തുടങ്ങാം. കേരളം കണ്‍മുന്നില്‍ക്കണ്ട ഒരു ദുരന്തത്തെ അതേ തീവ്രതയോടെ വെള്ളിത്തിരയിലെത്തിച്ചു എന്നതിന് വലിയൊരു കയ്യടി തന്നെ അദ്ദേഹത്തിന് നല്‍കാം. ഒരു സീന്‍ എത്ര ശക്തമായി പ്രേക്ഷകരിലേക്ക് ആഴ്ന്നിറങ്ങണമെന്ന് നന്നായി ഗൃഹപാഠം ചെയ്ത് അവതരിപ്പിച്ചതിന്റെ ഫലം സ്‌ക്രീനില്‍ കാണാനുണ്ട്. ജൂഡ് ആന്റണി ജോസഫ് എന്ന സംവിധായകന്‍ ഇനി അറിയപ്പെടാന്‍ പോകുന്നതും 2018 എന്ന ചിത്രത്തിന്റെ പേരിലായിരിക്കും. അദ്ദേഹത്തിന്റെ സിനിമാ ജീവിതം 2018 എന്ന ചിത്രത്തിന് മുമ്പും ശേഷവും എന്ന് അറിയപ്പെടുമെന്നതും തീര്‍ച്ചയാണ്. സഹ എഴുത്തുകാരനായ അഖില്‍ പി. ധര്‍മജനും കയ്യടിയര്‍ഹിക്കുന്നുണ്ട്. മഹാപ്രളയം നേരിട്ടനുഭവിച്ച ഒരാളെന്ന നിലയില്‍ അദ്ദേഹത്തിന്റെ സംഭാവനയും സല്യൂട്ട് അര്‍ഹിക്കുന്നു.

എടുത്തുപറയേണ്ട മറ്റൊരു വിഭാഗം ചിത്രത്തിന്റെ ഗ്രാഫിക്‌സ് വിഭാഗമാണ്. മുല്ലപ്പെരിയാര്‍ അണക്കെട്ടിന്റെ ഷട്ടര്‍ തുറക്കുന്നതും പ്രളയത്തിന്റെ ഭീകരതയുമെല്ലാം അത്രമേല്‍ യഥാര്‍ത്ഥമായി അവര്‍ അവതരിപ്പിച്ചിട്ടുണ്ട്. ക്ലൈമാക്‌സിനോടടുത്ത പ്രളയരംഗങ്ങളിലെ ഭീകരത കാണുന്ന ഓരോരുത്തരിലേക്കും എത്തിക്കുന്നതില്‍ സമ്പൂര്‍ണവിജയമാണ് അവര്‍ കൈവരിച്ചിരിക്കുന്നത്. സമീപകാല മലയാള സിനിമകളില്‍ ഇത്രയേറെ മികവുറ്റ ഗ്രാഫിക്‌സ് രംഗങ്ങള്‍ ഉപയോഗിച്ച മറ്റൊരു ചിത്രമില്ല എന്ന് നിസ്സംശയം പറയാം. നോബിന്‍ പോള്‍ ഒരുക്കിയ ഗാനങ്ങളും അതിലുപരി പശ്ചാത്തലസംഗീതവും എടുത്തുപറയുകതന്നെ വേണം. മഴയുടെ നിഷ്‌കളങ്ക സൗന്ദര്യം ഭീകരതയിലേക്ക് കൂടുവിട്ട് കൂടുമാറുന്ന രംഗങ്ങളിലെ പശ്ചാത്തലസംഗീതം ആസ്വാദകരുടെ ഉള്ളില്‍ അക്ഷരാര്‍ത്ഥത്തില്‍ തീ കോരിയിടുന്നുണ്ട്.

ടോവിനോ, നരേന്‍, ആസിഫ് അലി, കുഞ്ചാക്കോ ബോബന്‍, വിനീത് ശ്രീനിവാസന്‍, ലാല്‍, കലൈയരസന്‍, റോണി ഡേവിഡ് രാജ്, രമേഷ് തിലക്, അജു വര്‍ഗീസ്, ജോയ് മാത്യൂ, ജിബിന്‍, ജയകൃഷ്ണന്‍, ഷെബിന്‍ ബക്കര്‍, ഇന്ദ്രന്‍സ്, സിുധീഷ്, സിദ്ദിഖ്, തന്‍വി റാം, വിനീത കോശി, ഗൗതമി നായര്‍, ശിവദ, അപര്‍ണ ബാലമുരളി തുടങ്ങി താരങ്ങളുടെ നീണ്ട നിര തന്നെയുണ്ട് ചിത്രത്തില്‍. ഓരോരുത്തര്‍ക്കും എന്താണ് അവരുടെ വേഷമെന്ന് കൃത്യമായി നിശ്ചയിച്ചിരിക്കുന്നു. ഏത് കഥാപാത്രമെടുത്താലും അതൊന്നും വെറുതേയല്ലെന്ന് ഉറപ്പിക്കാം. ഇത്രയും താരങ്ങളെ വളരെയേറെ പ്രാധാന്യമുള്ള വേഷങ്ങളില്‍ അവതരിപ്പിച്ച മറ്റൊരു ചിത്രം അടുത്തിറങ്ങിയിട്ടുണ്ടോ എന്ന് സംശയമാണ്. യൂണിവേഴ്‌സല്‍ തീം ആയതുകൊണ്ട് തന്നെ ഇംഗ്ലീഷ് സബ്‌ടൈറ്റില്‍ നല്‍കിയിരിക്കുന്നതും ഉചിതമായി തോന്നി.

കേരളത്തിന്റെ നെഞ്ചില്‍ തീ കോരിയിട്ട മഹാപ്രളയത്തിന്റെ കാഴ്ചകള്‍ തീവ്രത ചോരാതെ പ്രേക്ഷകര്‍ക്ക് മുന്നില്‍ എത്തിക്കുന്നതില്‍ സംവിധായകന്‍ ജൂഡും കൂട്ടരും പൂര്‍ണമായി വിജയിച്ചിട്ടുണ്ട്. മലയാളത്തിന്റെ അഭ്രപാളിയിലെ പുത്തന്‍ ദൃശ്യാനുഭമായി '2018'-നെ വിശേഷിപ്പിക്കാം. മസ്റ്റ് വാച്ചാണ് '2018'.

Content Highlights: 2018 malayalam movie review, 2018 movie first review, tovino thomas, jude anthany joseph

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സമഗ്രം, വൈകാരികം; '2018' റിവ്യൂ: 2018 Malayalam Movie Review

മലയാളികൾ ഒന്നിച്ചതിജീവിച്ച ഒരു അവസ്ഥയെ സമഗ്രമായി, വൈകാരികമായി സ്‌ക്രീനിൽ കാണിച്ച സിനിമ: 2018 movie review.

2018 Malayalam Movie Review

2018 Malayalam Movie Review: ചില സിനിമകളിൽ വെറുതെ ഇടക്ക് കടന്നു പോകുന്ന റെഫറൻസായും മറ്റു ചില സിനിമകളിൽ ചില രംഗങ്ങളിലെ ഗ്യാപ് ഫില്ലറായും കടന്നു വന്നെങ്കിലും കേരളം 2018ൽ കണ്ട വെള്ളപ്പൊക്കത്തെ മലയാള സിനിമ സമഗ്രമായി സ്പർശിച്ചിട്ടില്ല. 'മൂന്നാം പ്രളയം' എന്ന സിനിമ അത്ര കണ്ട് ശ്രദ്ധിക്കപ്പെട്ടുമില്ല.സിനിമ ബഹുമാനത്തോടെ മാറി നിന്ന ആ ദൂരത്തിലേക്കാണ് ജൂഡ് ആന്റണി ജോസഫ് '2018' എന്ന് തന്നെ പേരിട്ടു സിനിമയുമായി വരുന്നത്. ടോവിനൊ തോമസ്, കുഞ്ചാക്കോ ബോബൻ, ആസിഫ് അലി, വിനീത് ശ്രീനിവാസൻ, നരൈൻ, ലാൽ, ഇന്ദ്രൻസ്, സിദ്ധിക്ക്, അപർണ ബാലമുരളി, തൻവി റാം, ശിവദ തുടങ്ങിയ വലിയ താരനിര തന്നെ സിനിമയിലുണ്ട്.

മലയാളി ജീവിതത്തെ പല നിലക്ക് പല തട്ടുകളിലായി തിരിക്കാം. അതിലൊന്ന് തീർച്ചയായും പ്രളയത്തിനു മുൻപും ശേഷവും എന്ന് തന്നെയായിരിക്കും. അത് തന്നെയാണ് ഈ സിനിമയുടെ വെല്ലുവിളിയും. വളരെയടുത്തു നടന്ന, മലയാളി ജീവിതത്തെ അടിമുടി മാറ്റിയ സംഭവത്തെ വലിയ സ്‌ക്രീനിൽ കാണാനുള്ള കൗതുകത്തെയും ആകാംക്ഷയെയും പല നിലക്കുമുള്ള സംശയങ്ങളെയും ഉൾക്കൊള്ളുമോ എന്ന ആശങ്കയിലാണ് '2018' തീയറ്ററിൽ എത്തിയത്.

പ്രളയത്തെ ചുറ്റിപറ്റിയുള്ള ഡോക്യുമെന്റെഷൻ തന്നെയാണ് സർവൈവൽ ത്രില്ലർ മോഡിൽ എടുത്ത ഈ സിനിമ ചെയ്യുന്നത്. 2018 ഓഗസ്റ്റ് 9 മുതലുള്ള കുറച്ചു ദിവസങ്ങളിൽ ഇവിടെ നടന്ന സംഭവങ്ങളിൽ നിന്ന് പ്രചോദനമുൾക്കൊണ്ട് സിനിമ മുന്നോട്ട് നീങ്ങുന്നു. ഞെട്ടൽ മുതൽ അതിജീവനം വരെ നേരിട്ട ജീവിതത്തിന്റെ ആ ദിവസങ്ങളുടെ പല വിധ അവസ്ഥവിശേഷങ്ങളിലൂടെ സിനിമ സഞ്ചരിക്കുന്നു. കടൽ, മഴ, പ്രളയം, ഷട്ടർ തുറക്കൽ തുടങ്ങിയ രംഗങ്ങളിൽ ഗ്രാഫിക്സിനെ, ശബ്ദവിന്യസത്തെ, വി എഫ് എക്‌സിനെ ഒക്കെ സിനിമ നന്നായി തന്നെ ഉപയോഗിക്കുന്നു. ആ നിലക്ക് നല്ല പരീക്ഷണമാണ് '2018.' വെള്ളപ്പൊക്കത്തെ വലിയ സ്‌ക്രീനിൽ അനുഭവിപ്പിക്കുക എന്ന, ഈ സിനിമക്ക് ഉണ്ടായിരിക്കമെന്ന് വിശ്വസിക്കുന്ന പ്രാഥമിക ദൗത്യത്തെ, സിനിമ നല്ല രീതിയിൽ കാണികളിൽ എത്തിക്കുന്നു. തീയറ്റർ കാഴ്ചക്ക് തരാൻ കഴിയുന്ന അനുഭവതലങ്ങൾ പ്രേക്ഷകർക്ക് പലയിടങ്ങളിലും അനുഭവിക്കാനാവും. മലയാള സിനിമ പൊതുവെ അലസമായി സമീപിക്കുന്ന ഈ അനുഭവതലത്തെ ടീം '2018' വിജയകരമായി കാണികളിൽ എത്തിക്കുന്നു. മഴ നിറയുന്നത് പ്രളയം പടരുന്നത് ഒക്കെ കാണുന്നവരിലേക്ക് അതേ വികാരത്തെ എത്തിക്കുന്നു.

രക്ഷാ ക്യാമ്പുകൾ, കളക്ഷൻ സെന്ററുകൾ, സന്നദ്ധ പ്രവർത്തകർ, മത്‍സ്യ തൊഴിലാളികൾ, സമൂഹ മാധ്യമ കൂട്ടായ്മകൾ തുടങ്ങി പ്രളയകാലത്തെ അനുഭവങ്ങൾ സിനിമയിൽ എത്തുന്നുണ്ട്. ആ കാലത്ത് അത്തരം അനുഭവങ്ങളിലൂടെ കടന്നു പോയവർക്ക് കുറെയൊക്കെ സത്യസന്ധമായി തോന്നാവുന്ന കാര്യങ്ങളാണ് ഈ രംഗങ്ങളിൽ കടന്നു വരുന്നത്. ഗർഭിണിയെ എയർലിഫ്റ്റ് ചെയ്യുന്നതടക്കം പലതും യഥാർത്ഥ സംഭവങ്ങളിൽ നിന്ന് നേരിട്ട് തന്നെ പ്രചോദനം ഉൾക്കൊണ്ടു കൊണ്ട് ചിത്രീകരിച്ചവയാണ്. അവയെ സിനിമാറ്റിക്ക് ആയി തന്നെ സ്‌ക്രീനിൽ എത്തിച്ചിട്ടുണ്ട്.

സർവ്വവൈവൽ ത്രില്ലർ എന്ന ഴാണർ പൊതുവെ മലയാളത്തിൽ രണ്ട് തരത്തിലാണ് നിർമ്മിക്കപ്പെടാറുള്ളത്. ത്രില്ലിംഗ് ആയും വൈകാരികമായും… '2018' പൂർണമായും വൈകാരികമായി നിർമിച്ച സിനിമയാണ്. ഒരു യഥാർത്ഥ സംഭവത്തെ ഇത്ര കണ്ടു വൈകാരികമായി സമീപിക്കാമോ എന്ന് തോന്നുന്ന രീതിയിൽ സിനിമയിലെ പല രംഗങ്ങളും മെലോഡ്രാമറ്റിക് ആകുന്നതായും കാണാം. അന്നു മനുഷ്യർ അനുഭവിച്ച മഹാദുരന്തങ്ങളിൽ സന്തോഷങ്ങൾ ഇല്ല എന്നത് സത്യമാണ്. പക്ഷേ അതിനപ്പുറം ഇത്രയും വൈകാരികത പല രംഗങ്ങളിലും വേണ്ടിയിരുന്നോ എന്ന് തോന്നി. അത്തരം നിർമിതികൾ ഇഷ്ടമുള്ളവരെ രസിപ്പിക്കാം എങ്കിലും അതിൽ പല രംഗങ്ങളിലും ചേർത്ത അതിവൈകാരിക ഭാവനകൾ അവിടെ നീതികേടായി നിന്നു.

വലിയ താര നിരയിൽ എല്ലാവർക്കും പ്രാധാന്യം നൽകുക എന്നതിലും സിനിമ ഊന്നിയിട്ടുണ്ട്. സിനിമയുടെ സമഗ്രതയെ ഇത് ബാധിച്ചിട്ടുണ്ട്. വലിയ ക്യാൻവാസിൽ ഇത്തരം വിട്ട് വീഴ്ചകൾ ആവശ്യമാണെങ്കിലും സിനിമയുടെ ഡോക്യുമെന്റേഷൻ സ്വഭാവത്തിൽ നിന്നുള്ള അനാവശ്യമായ മാറി നടത്തമായി. സ്വഭാവികതയിൽ നിന്ന് അങ്ങനെ പല രംഗങ്ങളിലും മാറി നടന്ന സിനിമ രണ്ടാം പകുതിയിൽ ആ താളം വീണ്ടെടുത്തു. ടോവിനൊയുടെ കഥാപാത്രത്തിന്റെ നിഷ്കളങ്കതയുടെ മീറ്റർ കുറച്ചു കൂടുതലായിരുന്നു. പക്ഷേ അതൊഴിച്ചു നിർത്തിയാൽ അദ്ദേഹമടക്കമുള്ള എല്ലാവരും തന്നെ തങ്ങളുടെ ചെറുതും വലുതുമായ ഇടങ്ങളെ നന്നായി തന്നെ ഫീൽ ചെയ്യിച്ചു. അഖിൽ ജോർജിന്റെ ക്യാമറ സിനിമയുടെ ഏറ്റവും ഭംഗിയുള്ള ഘടകമായിരുന്നു. പശ്ചാത്തല സംഗീതം അടക്കമുള്ള കാര്യങ്ങളിൽ സിനിമ ഇതേ ഒതുക്കം നില നിർത്തി. രാഷ്ട്രീയ സാമൂഹ്യ മാനങ്ങളെ തൊടാതെ മാറി നടക്കാനും സിനിമ ശ്രമിച്ചിട്ടുണ്ട്.

ഉത്സവകാലങ്ങൾ നിരവധി കടന്നു പോകുമ്പോഴും മലയാളത്തിലെ തീയറ്ററുകൾ പ്രതിസന്ധിയിലാണ്. അടച്ച് പൂട്ടുന്ന തീയറ്ററുകൾ സിനിമ വ്യവസായത്തിനു വെല്ലുവിളിയാകുന്ന കാലഘട്ടത്തിൽ, അതിനു തടയിടുന്ന പ്രതീക്ഷയായി പലരും '2018' നെ കണ്ടിരുന്നു. മലയാളികൾ ഒന്നിച്ചതിജീവിച്ച ഒരു അവസ്ഥയെ സമഗ്രമായി, വൈകാരികമായി സ്‌ക്രീനിൽ കാണിച്ച സിനിമ എന്ന നിലയിലും '2018' വേറിട്ടു നിൽക്കുന്നു. സിനിമാറ്റിക്ക് ആയ വെല്ലുവിളികൾക്ക് അപ്പുറം ഈ രണ്ട് രീതിയിലും ആഘോഷിക്കപ്പെടേണ്ട സിനിമ കൂടിയാണ് '2018'.

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'2018' is a well-made film that recreates one of Kerala's worst moments in recent memory

Making movies on real-life incidents comes with a lot of risks. There's always a possibility of delivering a film that can leave the audience feeling unsatisfactory; if it is made too real, it might not quench your aesthetic sensibilities.

Jude Anthany Joseph's '2018: Everyone is a Hero' is a well-balanced film that will leave you satisfied, and keep you engaged till the end.

The story of grit and survival during the 2018 floods is a touching tribute to the superheroes of those times, especially the fisherfolk who worked tirelessly to keep Kerala afloat. The narrative is balanced as the intrigue, nail-biting tension and light moments of fun and laughter, have all been blended well in the movie.

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Tovino plays Anoop, an Army deserter who is sometimes ridiculed by youngsters in his village for chickening out from military duties. However, when the rising waters threaten to wash away the village, he becomes a hero.Just when we feel that the film could end up being a one-man show, the director smartly delivers a twist.

View this post on Instagram A post shared by Tovino⚡️Thomas (@tovinothomas)

The technical aspects of the film are remarkable. The scenes have been recreated perfectly, without them seeming over the top. Many of the scenes are heart-wrenching, reminding you of the horror time we went through. Though the movie focused mostly on the heroic deeds that had hogged the limelight then, I particularly liked how the filmmaker, didn't overlook the smaller aspects, that affected people during the flood. Like the leaking rooftop in the shelter camp that forces its residents to leave.

How an autism-affected young boy and his family hardly makes it through the worst night of their life is so poignant, that it reminds you of Jack and Rose's pain-staking efforts to stay alive in 'Titanic', one of the most epic movies to be made till date. Though I'm not trying to compare '2018' with the James Cameron film, in a way, I believe it is our Titanic, sans an epic love story.

It is also different, because '2018', aims at reminding people that they are all essentially the same. Your heart swells with pride in almost every scene as people get together, forgetting their differences, to work as one, making an impact, however small or big.

The performances by all the cast, including Asif Ali, Lal, Tanvi Ram, Narain, Aparna Balamurali, Vineeth Sreenivasan among others, are note-worthy. Indrans, as the visually-impaired small tea-shop owner, delivers a brilliant performance too. Tovino's boy-next-door image and the fact that he was a prominent face during the actual floods in 2018, makes you connect with the character, instantly.

Jude, in one of his recent interviews, said that he did not rely on graphics to depict the floods as he wanted to make the movie feel more realistic. His decision was apt as none of the scenes felt over-dramatic. The music and BGM by Nobin Paul also does justice to the movie.

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‘2018’ review: A heart-tugging Kerala story

Jude anthany joseph’s malayalam blockbuster has been dubbed in hindi..

Jude Anthany Joseph’s hugely profitable survival drama 2018 has been credited with saving the Malayalam film industry which, like its Hindi counterpart, has been struggling to win back audiences after the coronavirus pandemic. 2018 , released in Kerala on May 5 and now dubbed in Hindi, assembles a staggering cast of acting talent. It appears that nearly everybody of note is here, doing their bit to boost business just as their characters in the film join hands to save lives.

Indeed, Joseph’s account of the catastrophic 2018 floods in Kerala, written with Akhil P Dharmajan, is introducing actors even after the interval. Spread over 150 minutes, 2018 is a mosaic of the experiences of several characters with the impact of incessant rain, disastrous environmental policies, and nature’s fury. Like Aashiq Abu’s Virus (2018), about the Nipah outbreak in Kerala in 2018, Joseph’s film celebrates the contributions of ordinary citizens in a time of acute crisis.

Tovino Thomas – most familiar to non-Malayalam audiences as the superhero from Minnal Murali – leads an estimable cast. Thomas plays Anoop, a former Army soldier who, like the pug in the Vodafone commercials, is always happy to help.

The small town where Anoop lives will soon bear the brunt of a cataclysmic downpour. As the clouds pour unrelenting havoc on the earth, numerous characters rise to the occasion, among them a fisherman and his sons, a Tamil truck driver, an Abu Dhabi-returned executive and a television network head who sets the alarm bells ringing earlier than the government.

The roster of actors is almost too long to mention – Indrans, Kunchako Boban, Lal, Asif Ali, Aju Varghese, Aparna Balamurali, Jaffar Idukki, Narain, Kalaiyarasan. Varghese stars in a comical sub-plot as a driver tasked with ferrying a Polish couple around.

Boban plays an official at the government’s disaster management cell. Lal represents the fisherfolk who provides invaluable assistance to the state government by using their boats for rescue operations. Asif Ali plays a struggling model who, like so many others in the movie, steps up when the situation reaches a breaking point.

The hero of the loosely structured narrative is Thomas’s Anoop, whose ready smile and broad-chested charm are put to good use. If a team of big-name actors selflessly depict walk-on parts, another team of stellar technicians recreate the floods to almost worrying detail.

Joseph, working closely with cinematographer Akhil George, production designer Mohanan and the visual effects provided by Mindstein Studios, dunks us right into the action. Whether it is the massive pools of water that destroy homes and take lives, or the relief camps set up for the displaced, or even the raging Arabian Sea itself, Joseph ensures that his recreation of a well-documented event is superbly detailed, never tacky, and always credible.

Several heart-stopping moments ensue as humans struggle to swim to safety. Some of the sequences are milked for maximum effect. There is an abundance of water and no shortage of tears as the flood victims struggle to combat a situation beyond their understanding.

Is it overstretched? Yes. Is it digressive? Sure. Is it excessively sentimental? Of course. Does it lack complexity? Affirmative. Is it affecting? Without doubt.

Moving back and forth in time, 2018 aims to be the definitive account of the floods. The film is stacked with humans, but its most impressive feat is technical in nature. Just like the people of Kerala used whatever was at hand to save themselves, 2018 deploys every available cinematic resource to craft an absorbing and engrossing chronicle of a disaster specific to Kerala but also universal for anybody who has learnt to fear climate change.

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'2018' review: Indeed, everyone is a hero!

Jude Anthany's film is a tribute to the indomitable spirit of Keralites

It has been said that the memories that you wish to forget are the toughest to leave behind. For every Keralite, the year 2018 is one they wish to forever put away.

However, the death and devastation that the August of 2018 brought along in the form of rain fury and subsequent floods are hard to forget, especially for those who suffered the loss of dear ones. The only possible takeaway from this great agony has perhaps been the realisation that when pushed to a corner by a force that is impossible to tame, the state and its people tend to possess the indomitable spirit and altruism to fight back as one formidable unit.

It is this spirit of courage that 2018: Everyone is a Hero seeks to celebrate.

Disaster thrillers are among the least explored genre of movies in Mollywood (save for Malayankunju in recent times), or Indian cinema for that matter. Possibly for a good reason. It is hard to sit through an hour or two of absolute mayhem and near-hopelessness that crush the human spirit even when you know the darkest hour will pass for those whom you root for, and there is, in all likelihood, light at the end of the tunnel.

Directed by Jude Anthany Joseph and starring an ensemble cast, including Tovino Thomas, Kunchacko Boban, Aparna Balamurali, Asif Ali, Lal, Kalaiyarasan, and Vineeth Sreenivasan among others, 2018 recounts the days of death and misery that the rains and floods brought along, even as it pays tribute to ordinary men and women whose heroics need to be cherished forever. Joseph has been the man behind a few feel-gooders ( Om Shanthi Oshana , Sara ), but he leaves his comfort zone to come up with a decently crafted disaster thriller that has plenty of hair-raising moments.

The movie begins by recalling the great flood of '99, even as it focuses on the daily lives of a few ordinary men and women in various parts of the state and elsewhere. The reality of rain means something different to each of these—for the fisherfolk, it is the season of scarcity and danger; for some it reminds of the school days and cosy, wet June and the months that follow, and for some others it is another season of moving to a relief camp.

In the first act, you see several such ordinary people, and it even gets tad boring and artificial as there are too many characters to keep track of—there is a deserter who realised that the dangerous Army job isn’t for him and wants to land a job in Dubai, an aspiring model who is not too proud of his fishermen family, a Tamilian who despises Keralites, an NRI youngster whose marriage appears to be crumbling, a reporter who seems to have a sense of what is coming, a sibling rivalry, a blind grocery store owner, a Polish couple and a crafty taxi driver, and many more. But you know what fate has in store for all these men and women who go about, taking each day as it comes.

And when it comes, it is brutal, and almost nobody is prepared for it. The director does not want to project the rain fury as the 'revenge of Gaia' and give a commentary on the same as movies in this genre often tend to do. Neither is his focus on the state machinery that managed to rise to the challenge despite the initial stupefaction. The film is a tribute to the sheer triumph of the will, coupled with the innate altruistic inclination of people to be empathetic in the face of a catastrophe.

Of course as the water begins to rise, you know what is to come because most Keralites have been part of it in one way or another. The timid deserter would eventually turn heroic, the youngsters who were often scolded for being too busy with their phones would use their tech skills to coordinate rescue operations, the fisherfolks would turn superheroes.... While the deaths, desperation, and destruction that the floods bring along are hard to watch, the triumphs of the unlikely heroes comfort you.

Most of the actors come up with fine performances, especially in the third act. Tovino as the timid youngster who manages to win the hearts of those who used to mock him, Sudheesh as the man trapped in a house along with his family, and Kalaiyarasan as the man caught in a moral quandary, stand out.

The director and his team, especially the art department and cinematographer Akhil George, do a great job in recreating the floods and subsequent ruination without resorting to the frequent use of found footage. The background score makes the torment and anguish all the more atmospheric and real.

The movie’s tagline says it all. This isn’t the story of extraordinary people; this is the story of, and tribute to, ordinary people who became extraordinary because of their willingness to risk their lives for total strangers.

Director: Jude Anthany Joseph

Cast: Tovino Thomas, Kunchacko Boban, Aparna Balamurali, Asif Ali, Lal, Kalaiyarasan, Vineeth Sreenivasan

Rating 3.5/5

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2018 Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 11:56 am, 26 May 2023

2 Hr 15 Min   |   Drama | Thriller   |   26-05-2023

Cast - Tovino Thomas, Asif Ali, Kuchacko Boban, Narain Ram, Aparna Balamurali and Vineeth Sreenivasan

Director - Jude Anthany Joseph

Producer - Venu Kunnappilly, Anto Joseph, C K Padma Kumar

Banner - Kavya Film Company PK Prime Production

Music - Nobin Paul, William Francis

Disaster films are not often made in Indian Cinema. Whereas 2018: Everyone Is Hero belongs to this rare category. It attempts to depict the story of Kerala’s biggest tragedy on the big screen. The film has been making a great noise and turned out to be the biggest blockbuster in Malayalam. The film is dubbed into Telugu. Will the film live upto all its hype? Let’s find out.

Massive floods hit Kerala in 2018 and officials are forced to open the gates of dams. This puts the lives of so many people in danger. Former soldier Anup (Tovino Thomas), Fisherman Lal and his two sons Narain, Asif Ali and Ramesh (Vineeth Srinivasan), who returns from Dubai to see his ailing mother, Sethupathi (Kalayirasan), a truck driver, and many others lives are affected. The film is about how such a natural calamity is fought with grit and courage.

Performances

Tovino Thomas breathes life into the role. The character arc for his role evolves gradually with the film. Lal and his two sons Narain, Asif Ali (model) shouldered the film at the crucial juncture. They play a major part as the fishermen and inspire others. Aparna Balamurali does justice to her role of TV journalist which has limitations. Kunchacko Boban and Vineeth Srinivasan are under-used. Their roles don’t rise beyond a point. The best part of 2018 is none of the characters deviate from the story and each role has some significance.

Technicalities

Technically, 2018 has solid elements. The writing and screenplay worked brilliantly. Jude Anthany Joseph’s direction is an asset. Production design, Visual effects and Cinematography are the pillars of the film. The flood visuals give a realistic experience.

Realistic Portrayal Fishermen & Rescue Ops Gripping Action & Emotion In Second Half Visual Effects

Thumbs Down

Scenes In First Half Telugu Dubbing

Disaster films and survival stories have an interesting premise. Here in 2018, there is more. The film has humankindness at the heart. When a national calamity strikes and lives of so many people are at stake, even the government is helpless. It looks for the aid of the Armed forces. But then comes the unsung heroes.

Fishermen community voluntarily came forward to rescue the people in danger. This is the biggest strength of Jude Anthany Joseph directorial. The action elements are intense. The emotion is heartfelt. The gripping narration combined with natural performances make 2018 a thrilling watch.

The first half introduces several characters and their short stories. But there is a tragedy looming large that makes one care for these characters. The director builds curiosity. The genre of disaster is optimally used to keep the tension till the end. The visuals are endearing.

The characters and their arcs show the director’s hold on the craft. The inspirational scenes act as a big boost. The grit and courage of people in the tested times is shown well. The soul of the film is humanity and putting one’s own life at risk to rescue others lives. This subtle message in 2018 tugs at the heartstrings.

It is the gripping second half which gives an edge-of-seat experience. The sound-design is flawless. The production scale and design scores well as well. Technically, there is nothing much to point at. 2018 has its own share of issues. The Telugu dubbing puts us off. Definitely the dubbing portion and dialogues could be better. Some portions in the first half act as hindrance. The film has cinematic liberties. Some of the characters were not rounded off. Barring these, 2018 is a thrilling watch and well-made disaster film. Go for it.

Verdict: Thrilling Watch

Rating: 3/5

Tags 2018 Movie Review 2018 Review Telugu movie 2018

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2018 review: Recreates the horrific floods and reminds us of the resilience of Keralites

Supported by great performances, music, visuals, and artwork, director Jude Anthany Joseph’s real-life story pays tribute to the warriors of the 2018 Kerala floods.

Published:Mar 19, 2024

A poster of Tovino Thomas-starrer '2018'. (Supplied)

A well-crafted movie!

2018 (Malayalam)

• Cast: Tovino Thomas, Kunchako Boban, Asif Ali, Lal, Narain, and Aparna Balamurali
• Direction: Jude Anthany Joseph
• Producers: Anto Joseph and Venu Kunnapilly
• Music: Nobin Thomas
• Runtime: 2 hours 30 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Jude Anthany Joseph’s 2018 is purely based on the devastating floods that gave nightmares to Keralites in the year 2018. It has a huge cast, including Tovino Thomas, Asif Ali, Kunchako Boban, Narain, and Aparna Balamurali.

2018 is the story of many people affected by the floods that rocked Kerala. Many lost people their lives and several others were rendered homeless.

The story is set in Aruvikulam village of the Idukki district and in Alappuzha since these areas were the most affected by the floods.

Even though the floods wreaked havoc in major parts of Kerala, Jude Anthany Joseph doesn’t mention all the places. Well, it is a better way of storytelling; otherwise, the plot could have been scattered.

Also, the director doesn’t present the movie like a documentary which helps keep the audience engaged till the end.

Real-life stories

‘2018’ is based on the 2018 Kerala floods. (Supplied)

Anoop (Tovino Thomas) is an ex-army officer who is popular in his village. Manju (Tanvi Ram) is his love interest. Their marriage date is finalised but it’s hampered by the untimely floods. As a result, they both get busy working as volunteers.

Nickson (Asif Ali) is an aspiring model who belongs to the fisherman community. He isn’t interested in fishing and feels ashamed about his dad Thankachan (Lal) and his brother (Narain), both fishermen.

But circumstances change Nickson’s mind and he feels proud of his dad and brother.

Indrans appears as Bhasi, a blind man, who meets a tragic incident during the floods. He shares a good relationship with Anoop.

Shaji (Kunchako Boban) works with the Meteorological department.

Also Read: Gopichand’s Ramabanam Telugu movie review

Vineeth Sreenivasan visits his mom after she meets with a minor accident. Floods wreak havoc as he reaches Kerala.

Koshy (Aju Varghese), a taxi driver, is supposed to take foreigners on a tour. But they couldn’t arrive in Kerala due to the floods.

Aparna Balamurali plays a journalist who covers the Kerala floods.

#2018Movie from today! Watch in theatres! pic.twitter.com/rNyNsdCH7L — Tovino Thomas (@ttovino) May 5, 2023

Engaging script

All these actors don’t get much screen space. But their characters get equal importance. They are all connected to the floods.

The basic plot of the movie deals with how Kerala faced the floods in 2018.

The script by Jude Anthany and Akhil P Dharmajan has many dramatic emotional elements that hook the audience to their seats.

The makers show how control rooms are set up during the floods, WhatsApp groups are created to pass on information, and high-level meetings are held with the chief minister to maintain the status quo.

The film also reflects the brotherhood feeling, resilience, courage, and hope that united the Keralites during the floods. The volunteers or warriors get a special mention through the characters of Tovino, Lal, Narain, and Asif Ali.

Also Read: Director Ashraf Hamza on his latest film Sulaikha Manzil

Performances.

Jude Antony during the final mix of ‘2018’. (Supplied)

Performance-wise, Tovino Thomas, Asif Ali, Kunchako Boban, Indrans, Lal, and Sudheesh scored well.

Aparna Balamurali, Tanvi Ram, Sreeja Ravi, and other women actors are good in their respective roles.

Even though Aparna Balamurali doesn’t get much screen space, journalists can relate to her role. Especially when Mullaperiyar Dam was opened during the floods on 9 August 2018.

Initially, it was a news item for journalists. But then, realities hit them hard when they started reporting from the ground level and witnessed many tragic scenes.

#2018Movie from today! in theatres near you.. pic.twitter.com/PxzKbzl6xb — Vineeth Sreenivasan (@Vineeth_Sree) May 5, 2023

Importance to fishermen

2018 also gives importance to fishermen who became real-life heroes by saving hundreds of people. They were lauded for their relentless services on several international platforms.

In 2018, Thankachan (Lal) leads the fishermen in his area. Their sincere efforts to save the lives of people who were held inside the houses during the floods remind us of the past.

Thankachan is one of the good characters in Lal’s career.

Mary Matha, the boat used during the rescue operations in 2018, has been put up as a memorial in a school that the film mentions.

Also Read: Kerala HC refuses to stay the release of The Kerala Story

Technically brilliant.

Asif Ali, Tovino Thomas, and Kunchako Boban in ‘2018’. (Supplied)

2018 is a technically brilliant movie. It has many underwater sequences that are presented captivatingly.

Sound plays an important role. The background score and the music composed by Nobin Paul are apt and complement the story. The sounds of rain and floods have come out really well.

Akhil George’s cinematography is excellent. The visuals are another highlight of 2018 . The rescue operations of a pregnant lady from a camp and a family are shot well.

The art department needs to be lauded for its stunning work.

Sound engineer Vishnu Govind and editor Chaman Chacko add value to the film.

2018 is a sincere effort by director Jude Anthany Joseph & Co in paying tributes to the warriors of the 2018 Kerala floods. The film has been crafted well, thanks to the technical team.

(Views expressed are personal.)

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2018 Review: Realistic Treat From Kerala

Movie: 2018 Rating: 3/5 Banner: Kavya Film Company Cast: Tovino Thomas, Kunchacko Boban, Asif Ali, Vineeth Sreenivasan, Lal, Narain, Tanvi Ram, Sshivada, Gauthami Nair and others Music: Nobin Paul DOP: Akhil George Editor: Chaman Chakko Producers: Venu Kunnappilly, C. K. Padma Kumar, Anto Joseph Written and Direction: Jude Anthany Joseph Release Date: May 26, 2023

Two films about Kerala have garnered a lot of buzz in recent weeks. The first is "The Kerala Story," which was a box office smash but also sparked a slew of controversy. The other is "2018," which depicts the 2018 floods that devastated Kerala.

Let's have a look at this film that did extremely well at the Kerala box office.

Story: People on one side of a dam are suffering from drought and a shortage of water resources. Kerala, on the other hand, is preparing for monsoon and floods. This story takes place in 2018.

As weather reports indicate that floods are going to be witnessed, the lives of people like Ramesh (Tovino Thomas) who resigned his army job and doing odd jobs in their village, a fisherman's family (Lal, Asif Ali and Naren), a journalist (Aparna Balamurali), a couple going through marital problems (Vineet Srinivasan and Gauthami Nair), a lorry driver in Tamilnadu (Kalaiyarasan) and a government officer (Kunchako Boban) and thousands of Keralaites get affected.

The story is told through the eyes of these folks to demonstrate how disastrous the floods were and how the entire community rallied to assist the state.

Artistes’ Performances: Tovino Thomas is fantastic as Ramesh. At the beginning of the story, he appears to be one among many, but towards the end, it is evident that he is the hero and the messiah. He plays the part so naturally. Tanvi Ram, his love interest, is beautiful.

Lal, as well Narain and Asif Ali as his two sons, play naturally. The roles of Aparna Balamurali and Kuchako Bobban seem out of place in this film. They lack adequate arcs.

Technical Excellence: The film meets outstanding technical standards. The floods depicted in the film are as real as if they were shot during an actual flood. The visual effects, camerawork, and production design are all quite exact.

Despite a limited budget, director Jude Anthany Joseph achieved the best technical achievements. The construction of floods will undoubtedly astound you. Its strongest suit is its sound design. Throughout the film, we hear rain, which transports us to the scenario.

Highlights: The gripping second half The visual effects of floods Sound design Realistic portrayal

Drawback: The first half Lacks depth in some episodes

Analysis Kerala experienced terrible floods in 2018, affecting everyone, rich and poor alike. Apart from the government machinery and the Indian army, the common population banded together to help one another. The fisherman community, in particular, assisted people in reaching safer areas with their boats. Director Jude Anthany Joseph captured this engagingly in his film.

For those of us who had only seen the news on TV, this film depicts the anguish and helplessness that Keralaites felt while being stuck in the floods. Director Jude not only chronicles their suffering but also shows how ordinary people came together to support one another and became heroes themselves. It's no surprise that the film's tagline is "Everyone is a hero."

The first half of the film is somewhat dull. Even though it is less than an hour long, the two or three songs and various people's backstories become monotonous. However, it appears to be a purposeful attempt to prepare us for the storm that awaits us in the second half.

The drama is quite fascinating and, at times, highly emotional from the interval cut through the climax. We are smack dab in the thick of the flood, thanks to the sound design and the incredible technical expertise with which the floods were created.

The sequence when Tovino Thomas helps a pregnant woman board an army helicopter is handled quite effectively. There are also other well-executed sequences.

Other situations, such as Asif Ali's character trying to retrieve certificates, appear a little too dramatic. Furthermore, the agony of the special child and his family is unnecessarily prolonged. Some episodes felt like they needed more depth.

But the film benefits greatly from its editing, high-quality visual effects, and excellent cinematography. The cinematic recreation of a horrific tragedy and the humanity displayed by the individuals make this a good watch.

Overall, despite a sluggish opening hour, "2018" effectively recreates the floods that devastated Kerala in 2018 and showcases the people who became heroes by helping one another. The film has several emotional moments and is technically accomplished. It's well worth watching.

Bottom line: Watch it

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Tags: 2018 Review 2018 2018 Movie Review 2018 Telugu Movie Review 2018 Rating 2018 Telugu Movie Rating 2018 Movie Rating

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2018 (U/A) 05/May/2023 2hrs 30mins

Critics Review

A thoughtfully crafted movie that tells the story of kerala's biggest tragedy and its heroes.

The quality of the writing shows and Akhil P Dharmajan and Jude has done a commendable job. Cinematogtaphy by Akhil George needs special mention. Add Chaman Chacko's editing and quality VFX, the movie is a good watch. (more)

Source: Gopika, Times Of India

Hollywood-style disaster flick swings between moving moments and predictability

The miracle of 2018 came from the general populace of Kerala that was widely reported in the media, including, most prominently, the selflessness with which the state�s fisherfolk offered their services and boats during rescue operations, the places of worship that were opened up to the stranded population, and the voluntary work done by the public and unassuming celebrities. The miracle of the film 2018 is that despite its multiple follies rendering too many passages hollow, there are several during which I could not hold back my tears as humanity and decency flooded the screen. (more)

Source: Anna MM , Firstpost.com

The Kerala story fanatics and their bot squads don't want you to know

This Jude Anthany Joseph film, starring Tovino Thomas, Kunchacko Boban and Aparna Balamurali, is a homage to all those who banded together during the Kerala floods and helped each other. (more)

Source: Anandu Suresh, Indian Express

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2018 Movie Review: Tovino Thomas, Jude Anthany Joseph's recreation of Kerala floods is heartbreaking

Director jude anthany joseph's 2018 – everyone is a hero is an emotional film about the 2018 kerala floods that rocked the state. the film is a brilliant recreation that is high on emotion, says our review..

Listen to Story

• 2018 - Everyone is a Hero is directed by Jude Anthany Joseph.
• The film released in theatres on May 5.
• Tovino Thomas, Lal, Indrans, Aparna Balamurali and Asif Ali played pivotal roles.

Release Date: 5 May, 2023

In 2018, Kerala saw one of the worst floods in history. The people who experienced the floods first-hand and those who were affected by it still bear the wounds. Some lost their lives, some their houses and some their livelihoods. Yet, none of these mattered when everyone came together to uphold humanity. Irrespective of their differences (read: caste, creed or economic background), people joined hands to help their fellow humans to overcome the calamity. Director Jude Anthany Joseph, in his recently released film, 2018, has tried to capture the same. And he has succeeded.

2018 begins in a village called Aruvikkulam and we are introduced to the inhabitants and how they go about with their lives. There’s Anoop (Tovino Thomas), who left the Army showing a fake medical certificate, so he could go to Dubai to make ends meet. There’s a fisherman's family comprising Lal, Narain and Asif. While Lal and Narein’s characters are proud fishermen, Asif Ali wants to pursue acting. There’s a pregnant woman, parents of a specially-able child, a blind person and so many characters.

The first half showcases the mundane lives of the myriad characters of the village. Slowly, we see the rains lashing the state and how the situation turns grim in just a matter of a few hours. As Kerala begins flooding, we get transported to their world and feel helpless. At several moments in the film, we feel anxious as to what’s going to happen next. Whether it’s a pregnant lady being airlifted or Asif Ali's character finding a snake during a rescue or the fishermen stepping up to save trapped human beings, we are moved to see the proceedings.

While 2018 takes a melodramatic route in some places, it works for the major part. It is a technically sound film and that’s what makes it an immersive experience. It might feel a bit stretched towards the end, but the film stands as a testament to the people of Kerala and those who extended a helping hand to the needy from different parts of the world.

2018 is a heartwarming film. You feel for the characters, you feel trapped, you well up and you also feel relieved when the characters are saved. If a film is able to make you feel so many emotions, then the director has succeeded in what he set out to do.

Tovino Thomas stands out in a film that's full of extraordinary performers. So do Lal and Asif Ali. Indrans, Naraein, Kunchako Boban, Aparna Balamurali and several other characters have made an impact in the screen time they got. Cinematographer Akhil George, editing by Chaman Chacko and VFX made the audience understand the magnanimity of the disaster through their impeccable work.

Director Jude Anthany Joseph’s 2018 is a film that reminds us of the Kerala floods. It is also a reminder that humanity still exists and how solidarity matters when survival is in question.

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2018 movie review: A superior Malayalam film in all terms

The film deals with the damage caused by the floods in Kerala and the survival of the people during the natural calamity

Hyderabad: 2018 is the talk of the town in Kerala currently. The film has become the first Malayalam film to cross 150-crore mark. The film is now released in Telugu yesterday. Bunny Vas from GA2 Pictures presented the film in Telugu.

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2018 is the story of the Kerala floods in the same year. The film deals with the damage caused by the floods and the survival of the people during the natural calamity. 2018 tells us the story of unsung heroes.

Director Anthany Joseph brought the natural look from the flood time to the big screen with the best technical values. He told the story with strong emotions and an engaging screenplay. Though the story of 2018 looks simple, the survival journey of the characters is very connecting and that won the hearts of the audience.

Heart-touching emotions are the biggest strength of 2018. Humanity is the takeaway for the audience. Anthany Joseph is successful in delivering master narration and characterisation.

He dealt the first half of 2018 with the introduction of the characters of all the unsung heroes and then stepped to the emotional side in the second half.

There is no particular actor who takes the lead position in the film. Since 2018 is a story-driven film, all the main characters share equal importance and screen time. It’s good to see Tovino Thomas accepting the film despite his star presence. Actor Lal’s performance is also the key to the film. All other actors also played their prominent parts.

2018 is technically solid. Akhil George’s cinematography and Nobin Paul’s soundtrack are the keys. VFX work is also top-class.

So 2018 is a must-watch film for its engaging narration and superior technical standards. One cannot miss this best presentation of humanity on the big screen.

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'2018 - Everyone Is A Hero' Twitter Review: A Glimpse Of Malayali's Courage And Self-Confidence!

' 2018 - Everyone Is A Hero ' is a flood-themed film directed by Jude Anthany Joseph with Malayalam's big stars lined up.

Tovino Thomas, Kunchacko Boban, Asif Ali, Vineeth Sreenivasan, Indrans, Lal, Naren, Aparna Balamurali, Tanvi Ram, Sudheesh, Siddique, Renji Panicker, Jaffer Idukki, Aju Varghese, Jibin Gopinath, Doctor Roni, Sivada, and Vinita Koshi are the top stars portraying the important characters in the film.

The screenplay is by Akhil P. Dharmajan. The film is produced by Venu Kunnapally, C. K. Padmakumar, and Anto Joseph under the banners of 'Kavya Films' and 'P.K. Prime Productions.

The Malayalis will never forget the year '2018' and the flood that came in that year. The film presents the story of courage, confidence, and unity of the Malayalees as a glimpse of that year.

Cinematography of the film is by Akhil George and the editing is handled by Chaman Chacko. The trailer of the film and the released video song 'Minnal Minnane' also got a lot of attention. The song is penned by Joe Paul and sung by Shankar Mahadevan. Music by Nobin Paul, Sound Design by Vishnu Govind.

Production Designer : Mohandas, Line Producer : Gopakumar G. K., Production Controller : Sreekumar Chennithala, Chief Associate Director : Silex Abraham, Costume Design : Sameera Saneesh, PRO & Digital Marketing : Vaishakh C Vadakkeveed, Jinu Anilkumar, Stills : Sinnett & Fazalul Haque, VFX : Mintstein Studios, Designs : Yellowtooth.

The film released today ending the wait of audience. checkout this space for more interesting Twitter reviews about the film from those who watched it.

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Malayalam Cinema Shines as Bollywood Recalibrates in 2024, Says Producer Siddharth Roy Kapur in Indian Industry Analysis (EXCLUSIVE)

By Naman Ramachandran

Naman Ramachandran

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As the Indian film industry reaches the midpoint of 2024, Malayalam -language cinema from the southern state of Kerala has emerged as the breakout success story, while traditional powerhouse Bollywood recalibrates after an uneven start to the year.

“This year has been the year of Malayalam cinema,” says former Disney India head and veteran producer Siddharth Roy Kapur in his half-yearly analysis of the Indian entertainment business for Variety . “With four films crossing INR100 crore [$12 million] each at the box office, it has really come into its own commercially.”

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This breakthrough represents a continuation of the pan-Indian cinema trend that has seen South Indian language films finding wider audiences across the country in recent years. In 2024, Telugu-language “Hanu-Man” is the highest grossing film of the year so far with $42 million.

For Bollywood, 2024 has thus far failed to match the exceptional box office performance of 2023, with the bright sparks being “Fighter,” “Shaitaan,” “Crew” and “Article 370.” However, Kapur sees encouraging signs in the success of several smaller and mid-budget films that have outperformed expectations.

“Films like ‘Munjya,’ ‘Srikanth,’ and ‘Mr. & Mrs. Mahi’ have managed to really punch above their weight,” Kapur notes. “For the industry, it’s a very heartening story that even mid-scale to small-scale films can succeed if the concept is strong enough.”

This trend marks a shift from 2023, when big-budget spectacles dominated the box office . Kapur believes audiences are signaling a desire for fresh storytelling approaches.

The relative underperformance of some highly anticipated big-budget films in early 2024, including “Bade Miyan Chote Miyan” and “Maidaan,” has reinforced this message. While it’s too early to see concrete changes in commissioning practices, Roy Kapur expects the success of smaller films to embolden younger producers and directors working with more modest budgets.

“It’s giving heart to many smaller producers and directors who don’t have the wherewithal right now to put the capital together to make a spectacle film,” he says. “It sends a message that there’s more hope than you might believe.”

Hollywood’s performance in India has been notably muted this year. “You haven’t really had any Hollywood film this year breaking through,” Kapur observes. While “Godzilla x Kong: The New Empire” managed decent business with $15.9 million, it hasn’t reached the blockbuster status of previous years’ U.S. studio releases in India.

This struggle mirrors Hollywood’s global performance, which has been challenging compared to India’s relative resilience over the past 18 months. The situation underscores the growing strength of local content in capturing Indian audiences, Roy Kapur noted.

Looking ahead to the second half of 2024, several major pan-Indian releases loom large, including Allu Arjun’s “Pushpa: The Rule – Part 2,” Kamal Haasan’s “Indian 2,” Rajinikanth’s “Vettaiyan,” Suriya’s “Kanguva” and NTR Jr’s “Devara: Part 1.” Sci-fi epic “Kalki 2898 AD,” starring Prabhas, Amitabh Bachchan, Haasan and Deepika Padukone has just released with a massive opening. These films will test whether the trend of regionally produced films achieving national success continues to gather steam. Anticipated Bollywood films include “Singham Again” and “Bhool Bhulaiyaa 3.”

On the streaming front, 2024 has seen a relative cooling of the fierce competition that characterized recent years. Kapur attributes this to industry consolidation, including the pending Disney-Reliance merger in India.

“I anticipate the rest of 2024 being a time when people are still going to just be keeping their head down,” Roy Kapur predicts. He expects a renewed push from major streaming platforms in 2025 once strategies are recalibrated.

While no single streaming show, except Netflix’s “Heeramandi,” has achieved breakout status in 2024 thus far, Kapur highlights the success of comedy specials like “The Kapil Sharma Show” on Netflix as an interesting innovation. He also notes the continued strength of returning seasons for popular series like Prime Video’s “Panchayat” and “Mirzapur.”

The first half of 2024 has also seen significant viewer attention captured by political content on YouTube during India’s protracted election season, as well as IPL cricket coverage.

“What I’m hopeful for is as much leeway and freedom being given for creative expression,” Roy Kapur says. “Less regulation with regard to content creation would be wonderful.”

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‘A Quiet Place: Day One’ Easily Scares Up $53M Franchise Opening Record, But ‘Inside Out 2’ Has Last Laugh With Third No. 1 Win At $57M+ – Sunday AM Update

By Anthony D'Alessandro

Anthony D'Alessandro

Editorial Director/Box Office Editor

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UPDATED, SUNDAY AM FINAL: So, as we approach the end of the weekend, it wasn’t a close call for No. 1 between Disney/Pixar’s Inside Out 2 and Paramount ‘s A Quiet Place: Day One , with the former beating the latter $57.4M to $53M . Global debut for A Quiet Place: Day One was $98.5M . Inside Out 2 passes the $1 billion global mark as scheduled.

Inside Out 2 ‘s success this weekend stems from an excellent, matinee fueled Friday to Saturday bump of 30%, for a total yesterday of $22.2M . That’s near the 31% Friday-to-Saturday jump that Incredibles 2 posted in its third frame. We thought weekday business this coming week would steal away some cash yesterday. That didn’t happen.

A Quiet Place: Day One ‘s 3-day bests the U.S./Canada start of the 2018 movie ($50.2M) and the 2020 sequel at $47.5M. For actress Lupita Nyong’o, not counting her ensemble movies of Star Wars and Black Panther, Day One ‘s opening reps her second-best solo career start at the domestic box office after Jordan Peele’s Us ($71.1M).

Still, it couldn’t be clearer, we are out of the dog days of the strike-impacted box office with a consistent supply of event films, many of which are over-indexing. Paramount and tracking never saw a franchise opening record coming for the John Krasinski alien production, but here’s another summer movie once again that’s overperforming for the fourth weekend in a row, thanks to a coast-to-coast heat wave and diverse moviegoers’ walk-up business. According to Comscore/Screen Engine’s PostTrak, 66% bought their tickets for A Quiet Place: Day One same day, versus 9% who snapped up their tickets in advance more than a week ago.

Said Paramount Domestic Distribution Boss Chris Aronson on the momentum of the marketplace, “It’s a sign of a much healthier marketplace and A Quiet Place: Day One is a different choice than anything else out there. The marketplace really hums when there is choice, when there’s movies for everybody.”

Let’s also acknowledge that this is a great date for A Quiet Place: Day One , as it’s the only adult-oriented tentpole during the Independence Day holiday, which is about to be devoured by Minions with Despicable Me 4. Opening Wednesday, the initial 5-day on that is $100M, and let’s just say that’s conservative.

Aronson expounding on the success of the prequel told us, “We did do some research and we listened to our fans, and this is a bit of an origin story with fresh casting, a new setting in New York City, which ramped up the scope and scale of this picture, which all conspired to what is a vibrant chapter in the A Quiet Place franchise.”

Paramount saw a bigger Latino and Hispanic turnout this time with A Quiet Place: Day One, with 32% Hispanic Latino (vs. A Quiet Place 2 ‘s 28%), Caucasian of 39% (vs. 44%), Black at 16% (same) and Asian at 9% (same). Of those who were 18-34, they showed up at 55%

Best areas of play for A Quiet Place: Day One were East, South Central, and West, with the AMC Burbank the No. 1 grossing cinema of the weekend at $125K-plus. Imax North America auditoriums at 408 delivered $5.8M for the prequel, 11% of the weekend. Overall, premium formats as of this morning delivered 39% of the weekend take.

New Line’s Kevin Costner western Horizon officially came in at $11M in third after a $4M Saturday. Like we said earlier in the weekend, the opening itself is par for the course for an original western, and not far from Costner’s Open Range, and it’s an extra $11M this weekend for exhibition. Remember Ron Howard’s Tom Cruise-Nicole Kidman western Far and Away ? Very long ago, in May 1992, that opened to $10.1M (unadjusted for inflation). Big, starry western remakes can fetch higher, read Sony’s The Magnificent Seven ($34.7M) and Paramount’s 2010 Christmas hit True Grit ($24.8M).

In regards to Horizon ‘s opening for a movie that may have cost $50M in an entire franchise that cost north of $100M — of course, it’s nothing to scream ‘Yahoo!’ about. Open Range finaled at $58.3M domestic, and that was off excellent reviews and audience response. Horizon is saddled with bad reviews and audience reactions. Warner Bros isn’t on the hook for budgeting or marketing costs. That’s all on Costner. As of right now, the Horizon sequel is still dated for a mid-August theatrical release.

Horizon played well in nontraditional markets. Pic’s top ten cinemas were the Larry Miller Pineview Stadium in St. George, Utah, 2. Santikos Palladium in San Antonio, 3. Harkins in Scottsdale, AZ, 4. Harkins Estrella Falls in Phoenix, 5. Regal Warren Moore in Oklahoma, 6. Harkins Camelview Fashion Square in Phoenix, 7. AMC Thoroughbred in Nashville, TN 8. Larry Miller Sunset Stadium in St. George, Utah, 9. Schulman Film Alley Weatherford, TX, and 10. Reading California Oaks in Murrieta, CA.

Something for Costner to be thankful for: Horizon ‘s opening isn’t as bad as his 1997 directed/starring western post-apocalyptic movie The Postman, which cost $80M, opened to $5.2M (unadjusted for inflation) and flatlined at $17.6M domestic. Horizon, similar to The Postman, received a B- CinemaScore.

With a total gross of $469.3M stateside, Inside Out 2 is now the fifth-highest animated movie of all-time at the domestic B.O., after Incredibles 2 ($608.5M), Super Mario Bros Movie ($574.9M), Finding Dory ($486.2M), Frozen 2 ($477.3M) and ahead of Shrek 2 ($444.8M) and Toy Story 4 ($434M).

Directed by Shunsuke Ishikawa, the movie, based on the manga of the same by Muneyuki Kaneshiro, centers on high schooler Nagi Seishiro as he discovers his hidden talent for soccer. One day, he receives an invitation to the mysterious Blue Lock Project. What awaits him there is an encounter with the finest strikers assembled from across the country. Nagi’s dream of becoming the best will take the prodigy to a world he’s never known. The manga is serialized in Kodansha’s Weekly Shonen Magazine and counts over 30 million copies in circulation. The anime debuted in October 2022.

The chart per studio reported figures:

• Inside Out 2 (Dis) 4,440 theaters Fri $17.1M (-44%) Sat $22.2M Sun $18.1M 3-day $57.4M (-43%) Total $469.3M /Wk 3

2.) A Quiet Place: Day One (Par) 3,707 theaters, Fri $22.5M,Sat $17M Sun $13.5M 3-day $53M , Wk 1

3.) Horizon (NL) 3,334 theaters, Fri $4.1M Sat $4M Sun $2.9M 3-day $11M /Wk 1

4.) Bad Boys Ride or Die (Sony) 3312 (-469) theaters, Fri $2.8M (-45%) Sat $4.2M Sun $3.1M 3-day $10.3M (-45%) Total $165.2M /Wk 4

5.) Kalki 2898 AD (Prath) 1,049 Fri $1.7M Sat $2M Sun $1.57M 3-day $5.4M Total $10.96M /Wk 1

6.) The Bikeriders (Foc) 2,692 (+50) theaters, Fri $920K (-78%) Sat $1.3M Sun $1M 3-day $3.3M (-66%), Total $16.2M /Wk 2

7.) Garfield Movie (Sony) 1,762 (-1251) theaters Fri $610K Sat $795K Sun $595K 3-day $2M (-47%) Total $89.6M / Wk 6

8.) Kingdom of the Planet of the Apes (20th) 1,650 (-760) theaters, Fri $518K (-53%) Sat $690K Sun $492K 3-day $1.7M (-55%), Total $168.1M /Wk 8

9.) Jatt & Juliet 3 (WHS) 143 theaters, Fri $457K, Sat $597K Sun $448K 3-day $1.5M , Total $1.8M /Wk 1

10.) Kinds of Kindness (SEA) 490 (+485) theaters, Fri $725K (+305%) Sat $466K Sun $309K 3-day $1.5M (+298%) Total $2M /Wk 2

UPDATED, Saturday AM Final: A fresh take with a new cast and new director — except for the aliens — A Quiet Place: Day One is deafening its $40M+ forecast with a franchise record opening weekend of $53M and day of $22.5M . Last night, box office analysts saw both A Quiet Place: Day One and Disney/Pixar’s third weekend of Inside Out 2 fighting over No. 1. That drag-out fight between big eared aliens and adolescent emotions will continue throughout today. Disney is figuring a massive swing for the third weekend of Inside Out 2, between $55M-$59M .

While that doesn’t appear to look like a close call at the weekend box office, there are other industry calculations to reflect that. More to come.

While Disney/Pixar’s Inside Out 2 clocked $17.1M yesterday, which is the same exact amount of cash as Toy Story 4 ‘s June 28th Friday gross back in 2019 (realize that was the fourthquel’s second Friday), some aren’t calculating that the studio gets a +35% bump today over yesterday. The reason being is that as kids get out of school, family moviegoing traffic shifts to the weekdays, so the matinee Saturday pop isn’t as robust. Inside Out 2 is already up 14% over Friday this AM, and will end the day up in the 20 percentile. The third Saturday for a Pixar film is wild: While Incredibles 2 ‘s third Saturday to Friday was +31% during pre-Covid 2018, Elemental was only +22%, and Lightyear +18% post-pandemic.

Age demo breakdowns for Day One were 32% for men over 25, 29% women over 25 (best grades at 81% on PostTrak), men under 25 at 20% and women under 25 at 19%. Forty percent of the audience went because it was part of a franchise they loved, while 36% said it looked entertaining and fun. Those nail-biting NYC apocalyptic trailers that Paramount cut sure worked, with 17% saying that the in-theater trailer and 12% citing the online trailer as the most influential forms of advertising for the Michael Sarnoski- directed and written, Platinum Dunes production.

Top-grossing movie theater to date for Day One is AMC Burbank with $76K.

Social media analytics corp RelishMix measured the online universe reach for Day One at 180.3M, +6% above previous installments across TikTok, Facebook, X, YouTube and Instagram combined. The campaign also saw a lift with a near-27M views from the pre-game spot during the Super Bowl in February. Lupita Nyong’o is the cast’s social media champ with a reach of near 20M, this post accumulating 2.4M views:

View this post on Instagram A post shared by Lupita Nyong'o (@lupitanyongo)

Says RelishMix: “The convo on  A Quiet Place: Day One  ran mixed-positive before opening, with fans of the franchise, as well as newer audiences, intrigued with the change of location, scope, and characters, exciting all in equal measure.

Prospective moviegoers are saying, ‘This is an awesome spin-off in the franchise,’ and, ‘Amazing! This somehow gives me  Cloverfield  vibes.’ The cast is pulling in many viewers, with a particular interest in seeing Lupita Nyong’o join the series. Fans are saying, ‘You had me at Lupita Nyong’o and Joseph Quinn, can’t wait for this,’ and, ‘Djimon Hounsou, as always, will play the strong one. I like this guy.’ Lastly, the continued representation these film showcase for people with disabilities has people saying, ‘Love this franchise turning people with sensory disabilities into the strongest people and most fortunate.’ The world of  A Quiet Place  only grows larger and roaring praise toward the intense yet ‘simple concept’ floods the comments. Fans are also eager to see Nyong’o in another horror that compliments her ‘expressive’ and ‘captivating’ talent.”  

New Line’s distribution deal of Kevin Costner’s Horizon banked $4.1M yesterday, which is $100K shy of the $4.2M first day of his 2003 western, Open Range. That movie had a mid-August release back in the day, by the way.

This spells for an estimated $11.3M opening on the western, which Costner invested $50M+ of his own money in to shoot the entire franchise, which costs north of $100M. No, it’s not a great opening in regards to the movie’s cost. However, it’s depth to the box office for exhibition. They aren’t complaining.

Plus, the movie is bringing out a very older audience at 55+ of 47% — by far the movie’s biggest quad. At a time when cinemas need more movies than streamers, bravo to Costner for betting on himself in an attempt to capitalize on his Yellowstone audience and herd them toward the multiplex. A strong 40% said that they galloped to Horizon, as they were fans of Costner as a director.

Some intriguing under the hood with Horizon: Women were the majority turnout at 54% to men 46%, with women over 25 repping 48% of the audience. That demo also gave the western its highest grades, if you could call it that, at 74%. Diversity demos were 68% Caucasian, 14% Hispanic and Latino, 7% Black and 5% Asian American.

Horizon is playing best where it should be in the South, South Central, Midwest, and Mountain regions. Highest-grossing venue is Megaplex Pineview Stadium 10 stadium in Utah, with $12K so far.

RelishMix saw the grey landscape ahead for Horizon with the movie’s social media universe stats running 39% under historical drama, with 110.7M across TikTok, Facebook, X, YouTube, and Instagram. Costner is reaching out to his 4.2M fans on social, while Jamie Campbell Bower counts close to 7M.

Overall weekend for all films stands at $153.5M , which is 20% ahead of the same frame a year ago, when Indiana Jones and the Dial of Destiny led the 3-day frame with a $60.3M opening.

• Inside Out 2 (Dis) 4,440 theaters Fri $17.1M (-44%) 3-day $55.3M (-45%) Total $467.2M /Wk 3 (industry average)

2.) A Quiet Place: Day One (Par) 3,707 theaters, Fri $22.5M, 3-day $53M , Wk 1

3.) Horizon (NL) 3,334 theaters, Fri $4.1M, 3-day $11.3M /Wk 1

4.) Bad Boys Ride or Die (Sony) 3312 (-469) theaters, Fri $2.8M (-45%) 3-day $10.2M (-46%) Total $165.1M /Wk 4

5.) Kalki 2898 AD (Prath) 1,049 Fri $1.85M 3-day $5.8M Total $11.4M /Wk 1 Audiences love this movie at 95% on Rotten Tomatoes. The pic in Hindi, Telugu, Kannada, Malayalam and Tamil is playing best in the East and the South Central with the Cinemark Tinseltown in Texas the highest grossing multiplex with $30K so far.

6.) The Bikeriders (Foc) 2,692 (+50) theaters, Fri $920K (-78%) 3-day $3.1M (-68%), Total $16M /Wk 2

7.) Garfield Movie (Sony) 1,762 (-1251) theaters Fri $560K (-51%) 3-day $1.85M (-51%) Total $89.4M / Wk 6

8.) Kingdom of the Planet of the Apes (20th) 1,650 (-760) theaters, Fri $518K (-53%) 3-day $1.8M (-53%), Total $168.1M /Wk 8

9.) Kinds of Kindness (SEA) 490 (+485) theaters, Fri $725K (+305%) 3-day $1.79M (+375%) Total $2.3M /Wk 2 Solid numbers throughout here for the Yorgos Lanthimos-Emma Stone reteam, especially from the Alamo theaters.

10.) Jatt & Juliet 3 (WHS) 143 theaters, Fri $470K, 3-day $1.36M , Total $1.8M /Wk 1 The rom-com from filmmaker Jagdeep Sidhu follows two police officers from Punjab who travel to London on a mission that proves more complicated than expected.

UPDATED, Friday PM: Disney/Pixar’s Inside Out 2 is heading to a $17 million-plus Friday, which will put the sequel on track for a third weekend of $60M at 4,440 theaters, -41%, making it one of the seven best third weekends ever. Oscar buzz is already developing around the movie, and rightfully so: it’s responsible for bringing audiences back to cinemas. Stateside gross will stand at $471.8M by EOD Sunday.

Yesterday, the pic’s global cume of $863M , already outstripped the lifetime total of the original 2015 title, which ended its run at $858.8M.

Right now, Paramount’s $67M prequel A Quiet Place: Day One is seeing a $20.5M Friday at 3,707 theaters, which again, is an opening-day franchise record for the movie ahead of the first two movies’ $18.8M and $19.3M starts, respectively. However, the three-day, per many, is being spotted at $48.5M , which would rep the second best three-day start in the series. The Rotten Tomatoes audience score is 70%, which is behind the first film’s 83% and second’s 92%. By the way, the current three-day projection is ahead of the $40M that was being spotted on tracking.

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Sony’s fourth frame of Bad Boys: Ride or Die at 3,312 theaters is looking at around $3M today, and a three-day of $11M , -41%, for a running total of $163.9M by Sunday.

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Pushing its way into fifth place is the Bollywood title Kalki 2898 AD , with a $2M Friday, $6.5M three-day and running total less than $12M for the four-day at 1,049 sites. The movie grossed around $5.4M on Thursday. The feature, written and directed by Nag Ashwin, takes place in a future ruled by elites who revel in absolute luxury while leaving the rest of the world in darkness. There, a warrior must rise to protect the one who will bring a new tomorrow in this action-packed science fiction epic. That’s the logline. See the trailer below. Critics says 71% on Rotten Tomatoes, but audiences differ at 95%. More updates as we have them.

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FRIDAY AM: We told you it was a franchise record in regards to previews for the Quiet Place franchise with A Quiet Place: Day One, and that’s what it is with a now-revised $6.8M total. That’s higher than Kingdom of the Planet of the Apes ($6.6M), which went on to a $58.4M openin g. If this prequel legs out like that, or even north of $50M, that’s a fantastic 3-day take for a third installment.

Meanwhile, New Line’s Kevin Costner pic Horizon : An American Saga – Chapter 1 came up short from where we saw it, with $800,000. Oh, no — but keep in mind that pic’s audience isn’t a Thursday night preview one.

Inside Out 2 did $11.2M Thursday, -12% from Wednesday for a second week of $156.8M and running total of $411.99M.

It’s a going to be a rich weekend at the box office. Last year at this time, Indiana Jones and the Dial of Destiny led with a $60.3M 3-day, for an overall $128.2M weekend. It’s within reason that we will beat that marketplace total by Sunday.

THURSDAY PM: Paramount’s prequel A Quiet Place: Day One is heading to a franchise-record preview night between $5M-$6M , several sources inform us. Showtimes began at 3 p.m.

Tonight’s figure easily ranks ahead of the $4.3M made by the first movie in 2018 and the $4.8M made by A Quiet Place: Part II on its Thursday heading into Memorial Day weekend 2021, when summer kicked off for recently reopened theaters.

Those two movies were directed by John Krasinski, while the prequel is helmed and written by Pig director Michael Sarnoski. A Quiet Place: Day One tells the story about how the ferocious aliens with the highly sensitive ears landed on Earth in NYC. Oscar winner Lupita Nyong’o, Joseph Quinn, Alex Wolff and Djimon Hounsou star.

Tracking had this prequel at $40M+ for the weekend, and given that it’s a genre film, it can be frontloaded. The first movie’s previews repped 23% of its $18.8M Friday, heading to a $50.2M 3-day weekend, while the second installment’s previews repped 25% of its first Friday of $19.3M for a 3-day of $47.5M, 4-day of $57M over Memorial Day weekend. Too soon to tell if there’s a ‘5’ in front of Day One ‘s opening. The Platinum Dunes production is rated PG-13. Paramount held the New York premiere Wednesday night at AMC Lincoln Center.

At this point in time, we’re hearing around $1M-$1.5M for Kevin Costner’s pricey three-hour epic, Horizon : An American Saga – Chapter 1 . At that level, it could get the New Line theatrical release, which is a distribution deal, to $12M . Realize this older-skewing title is a slow burn, not a one-shot, opening-weekend film. Best to assess this movie’s success in its first 10 days, as many take a summer break this week.

Critical reviews stand at 41% on Rotten Tomatoes, which isn’t as bad as Costner’s The Postman at 14%, though below Waterworld ‘s 47% Rotten (which he produced) and under his 2003 film Open Range (79% certified fresh), and his 1990 multi-Oscar winner Dances with Wolves (87% certified fresh). Of his westerns, Open Range opened to the highest at $14M, was released by Disney, and ended its run at $58.3M.

As expected, Disney/Pixar’s Inside Out 2 will rule the weekend with $55M-$60M. The pic crossed $400M in its 13th day of release on Wednesday. That figure is pacing 2% ahead of Barbie, which stood at $394.4M at the same point and time and finaled at $636.2M. The Kelsey Mann-directed sequel will click past the $1 billion global mark this weekend, becoming the 54th title to reach that feat.

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