I avoid elements that ruin the realistic  edge of a film

As Thondimuthalum Driksakshiyum hits the screens today, Dileesh Pothan talks  about his style of filmmaking
I avoid elements that ruin the realistic  edge of a film

His first film was so full of homegrown goodness, making you realise cinema  can be this rewarding. Dileesh Pothan makes strong cinematic statements through simple, finely-threaded narratives that there is no wonder  expectations are sky-high for Thondimuthalum Driksakshiyum. “The success of Maheshinte Prathikaram has definitely boosted my confidence and I think now  I have a commitment to come out with something better. I have no claims, but  this is another sincere, heartfelt attempt from my part,” Dileesh

says  about his second outing. 


Thondimuthalum Driksakshiyum, starring Fahad Fazil in the lead, is an  intriguing social drama woven around a police investigation. “Be it the  thread or treatment, this film bears no resemblance to Maheshinte Prathikaram,” he says. His first film was celebrated for its incredible  detailing, but Dileesh says it was not a conscious effort. “I am a storyteller first and I had tried to present the core narrative using various tools. If you ask me my priority is always the plot and in both the films I have tried to maintain their integrity, their natural constitution. I usually avoid all elements that ruin the realistic edge of a film. I want to communicate the story in a surrounding that best suits it and keep adding elements that make it clearer,” he says. 


Maheshinte Prathikaram was also the  film that salvaged the sinking career of Fahad Fazil after three consecutive duds. Ask Dileesh about going for the same hero in his second film as well,and he says, “Fahad is a talented actor and also a friend. I know he could pull off the role brilliantly and it’s always easy communicating with a friend.” While the film introduces Nimisha Sajayan, it also stars Suraj Venjaramoodu and Alancier in key roles. 


Dileesh adds he is no stickler for cinematic conventions, be it craft or title. “Maheshinte Parthikaram is a revenge story and I went for a simple, straight title. Here also there is no attempt to create any drama out of a pretentious title. A title becomes interesting when it’s totally in sync  with the story. There is no rule that films should be made in a particular way.” He says it’s not easy fitting Thondimuthalum Driksakshiyum into a particular genre, “it has many flavours. At points it’s a satire, but it also has the traits of a drama and thriller. I don’t think some kind of tag is essential for all films.”

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