Cinema is often dominated by formulaic plots or hypermasculine narratives. Among the few films to break this mould is Lokah: Chapter 1 – Chandra, a superhero story rooted in stereotype-busting. Directed by Dominic Arun and co-written by actor Santhy Balachandran, the film has struck a rare balance of critical and commercial success. “We didn’t expect this outpouring of love,” she says, reflecting on the reception. “The team was focused on crafting the film Dominic envisioned as sincerely as possible.”
Her journey as a writer has been long in the making. An interest in writing and academic background in anthropology and screenwriting workshops, including one by Iranian filmmaker Mohsen Makhmalbaf, shaped her craft. Her collaboration with Arun began after she starred in his film Tharangam. “We began exploring our partnership when we discovered that we enjoyed bouncing ideas and brought complementary skills to the table,” she recalls. Their creative synergy eventually led to Lokah, a project that took five years to come to life.
Initially, Lokah was meant to be an indie feature but over time, the project grew in scale and scope. The film reimagines Kalliyankaattu Neeli, a vengeful, bloodthirsty spirit from Kerala folklore, transforming her into a complex and empowered superhero. “I became very protective of Chandra/Neeli (played by Kalyani Priyadarshan). Since we were reimagining her as a superhero, I wanted to ensure her character had agency,” Balachandran stresses, adding that she was determined to deconstruct the traditional myth in which Neeli is subdued by a patriarchal figure. “Creating a coherent mythology for the franchise was key, and Dominic gave me free rein to add in a feminist critique of power. It mattered to me that Neeli’s code of honour came from a woman,” she says, referencing to the emotionally fuelled interval sequence. “I believe it helped the audience connect with Neeli.”
Her academic lens shaped not just the writing but the film’s visual language, from statues inspired by fertility cults to the hypermasculine Inspector Nachiyappa Gowda (played by Sandy Master). The setting, too, was deliberate. The fictional city of Lokah mirrors cosmopolitan Bengaluru, where diverse characters coexist and a woman like Chandra could easily vanish into the crowd. “This choice helped us write a range of characters and capture a youthful energy through cinematography, costume and design,” she explains.
Behind the lens, the film also made a quiet statement. “We had at least two dozen women working in the crew. It is exciting that the women of Lokah are being appreciated for their stellar work. The fact that a woman-centred film has achieved these historic numbers is encouraging for all filmmakers who want to tell stories outside conventional formulas.”
Amidst the success noises Balachandran is clear-eyed. “I don’t see myself directing yet, but my goal is to explore myself as a creative. Lokah’s success shows us that we must not underestimate the audience and that beyond spectacle, there is always room for stories told with sincerity.”