Aasha movie review: Urvashi, Joju George anchor a flawed yet compelling drama-thriller

Aasha Movie Review, Rating: Even though a large number of us are taught — both by families and institutions such as religions — in childhood that there is a clear distinction between good and bad deeds, as well as what is morally acceptable and what isn’t, we slowly realise as we grow up that there are some unwritten/blurred ifs and buts in these lines.

Simply put, sometimes what is otherwise wrong is considered right. Moreover, people might even go to the extent of aligning with Nayakan’s (1987) Sakthivel Nayakkar’s (Kamal Haasan) principle: “Naalu peru saapida udhavumna, edhuvume thappille (If your actions help feed four people, then there’s nothing wrong with it).”

Debutant director Safar Sanal’s Aasha goes a step further, showing that labelling one’s actions as good or bad isn’t innocent after all, and that invisible political layers lie beneath, where class and caste also play a role.

The drama-thriller opens with a quote famously attributed to German philosopher Friedrich Nietzsche, which encapsulates the movie’s story and essence: “If you kill a cockroach, you are a hero; if you kill a butterfly, you are evil. Morals have aesthetic criteria.”

Aasha (Urvashi) is a widowed mother of two who lives with her younger daughter, Anakha (Aishwarya Lekshmi), in a rented house while their new home is under construction. Having been through significant life struggles and traumas, Aasha grapples with mental health issues, worsened by sleep deprivation. As a result, she is hyper-independent, hotheaded, stubborn, and holds grudges for seemingly trivial matters. Her protectiveness over her daughters has, over the years, turned into immense possessiveness and controlling behaviour, leaving the younger ones suffocated.

One night, their lives change completely as Aasha’s car is involved in an accident with Jeemon’s (Joju George) pickup van. Once the police arrive, things escalate. As Aasha vows not to let the matter slide, Jeemon and his right-hand man, Asif (Ramesh Girija), decide to take revenge.

Instead of the cheerful, peaceful opening sequences typical of such movies, director Safar Sanal introduces us to Aasha in the first scene itself and offers an overview of her character here. Even as things are going smoothly around her, Aasha seems irritated for no reason and soon picks a fight with an employee there over something trivial, almost as if she can only exist in chaos.

While this scene establishes her character well, it may also have been a costly decision by Safar and his co-writers, Joju George and Ramesh Girija, as it creates in one a particular impression and prejudice about Aasha that works against the movie going forward.

For instance, soon after Aasha and Jeemon trade barbs at the police station, Anakha is involved in another accident and suffers injuries. Aasha quickly suspects that Jeemon and Asif are behind this and sets out for revenge. However, because the movie paints her a certain way from the outset, one can easily suspect she is acting impulsively. Soon, it is revealed that the duo had no hand in Anakha’s accident and that Aasha “took revenge” for no reason, rendering the movie predictable.

But the sharpness in Safar, Joju, and Ramesh’s script lies in how well they extract both Aasha’s greyness and helplessness without villainising her outright. Had they handled her initial portrayal in a better manner, without letting her seem like the archetypal “grumpy middle-aged woman,” her nuances would have stood out even more. But instead of weaving those details into the script, the creator trio leaves them to the actor, expecting Urvashi to work wonders out of thin air.

Even then, the makers explore her dramatic layers well at times, revealing how far she would go for her daughter(s). But they fail in creating equally impactful moments that take the drama forward.

Without lengthy, rambling scenes and monologues, Safar and his team flesh out Aasha and other characters effectively. For instance, the first time we see Anakha and her boyfriend together, the makers not only establish their relationship strongly but also reveal their individual characters through subtle actions and gestures. Even within Aasha’s household, the creators use minimal, precise depictions to show their relationships, individual natures, and the ways in which each person influences the others.

As soon as she learns that Anakha has been involved in an accident and that Jeemon brought her to the hospital, Aasha’s main concern is whether she has been sexually assaulted, and she quickly demands that the doctor carry out a test. “Her marriage has been fixed,” she tells the doctor, requesting that the latter keep the test result a secret for the time being. The next day, Aasha brings a contraceptive pill for Anakha without even confirming whether what she feared had actually happened.

Through such scenes, the creators explore the character further and show how much she lives in her head, haunted by her traumas.

Aasha could have been a brilliant character study; however, the creators’ overt obsession with Urvashi’s acting potential also affects the movie, as the script sometimes fails to flesh out what it should have to make the movie better.

For instance, their decision not to delve deeper into Aasha’s backstory and past significantly affects her character. While this creative choice works in Jeemon’s favour — where deliberately withholding information about his background makes him enigmatic and adds to the movie’s mystery — it backfires for Aasha, making her seem underwritten.

At the same time, after Jeemon and Asif fall into Aasha’s trap, the movie starts going in circles, unsure of where to settle down and if to be dramatic or thrilling. One major issue in these moments is the weakness of the thrilling sequences, worsened by unimpactful music, which keeps the film from grabbing one’s undivided attention or become something like Jithin Issac Thomas’ Rekha (2023).

Safar Sanal’s impressive filmmaking, however, largely compensates for the narrative flaws, offering a gripping experience. For instance, the way Aasha catches Jeemon and Asif is similar to how we catch rats using traditional methods, and Safar’s visual composition of this scene is stunning, showcasing his skill.

Urvashi shines in restrained moments, but one cannot say the same about her performance in louder moments, where she seems unconvinced by the character. This wouldn’t have been as noticeable had the filmmakers avoided close-ups of her too often and instead included the surroundings to provide some distraction.

Even though Joju George handles the physically demanding moments well, the script doesn’t give him much to do, per se.

Aishwarya Lekshmi, meanwhile, appears reserved after the King of Kotha (2023) debacle, and at times seems to be deliberately restricting her performance, as if worried that stepping slightly out of line would invite another round of trolling like the “Rajuvetta” (KoK) backlash she is still reeling from.

After his commendable debut performance in Pani (2024), Ramesh Girija impresses once again, proving that he is capable of more intense roles, provided he isn’t killed off soon after his intro (which is the case in both Pani and Aasha).

Ajayan Adat’s sound design is commendable, even if one cannot say the same about his performance. Madhu Neelakandan’s cinematography captures the world well, but it doesn’t quite hit the mark when it focuses predominantly on the characters.

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. He is a Tomatometer-approved film critic and a Golden Globes voter. With over seven years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and arthouse narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialised cultural journalism, allowing him to bring a structured, news-oriented rigour to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalised Narratives: A commitment to on-ground and analytical reporting on how cinema represents or fails marginalised communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritising "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More