It all began with capturing photographs — moments of realisation about the lives of people who weren’t visible in the mainstream. P Abhijith, a veteran media professional and social observer, found himself drawn to stories that refused to remain hidden. “People in the trans and LGBTQIA+ community weren’t visible like today two decades ago,” he says.
The seed for Njan Revathi, a long documentary based on the life of writer, actor, and trans activist A Revathi, was planted during a reluctant visit to the trans community in Koovagam. It was a friend’s casual suggestion, but for Abhijith, it became a turning point. “At that time, my attitude was like that of a first-timer who didn’t know anything. I was reluctant at first. I photographed and then I spoke to a lot of people. Then when I came back, I had this urge to go back and follow up.”
This urge grew into years of documentation — first through photography, then exhibitions across Kerala, and finally, film. With Njan Revathi, the lens widens to encompass the personal and political journey of one of India’s most compelling transgender voices.
Revathi is no stranger to struggle. Her autobiography The Truth About Me, published by Penguin Books and known in Malayalam as Oru Hijadavin Atmakatha, broke ground with its honest portrayal of her life as a trans woman navigating a society often hostile to her very existence. The documentary draws deeply from this text, but instead of simply recreating scenes, it builds a new kind of narrative intimacy.
“We have to hide and survive. In Tamil Nadu, we couldn’t be out in the open. So everyone would go to Bombay. I wanted to go to the trans community and understand the culture. In Delhi and Bombay, I was doing sex work,” Revathi shares in the film.
Through her words, we do not merely see pain or poverty — we witness survival, community, identity. These are not just personal anecdotes; they are the lived realities of many transgender individuals across India. The documentary traverses more than geography. Shot over two and a half years in Namakkal, Chennai, Coimbatore, Bengaluru, and Angamaly, it offers viewers a chance to see the landscapes that shaped Revathi’s world. “People who read the book will have the urge to see the places she grew up in,” Abhijith explains.
A collective voice
Njan Revathi is not an isolated story, but a chorus of voices. Alongside Revathi, the documentary features activists, writers and fellow travellers like Perumal Murugan, Aniraja, Ranju Ranjimar, Sheethal Shyam, A Mangai, Sreejith Sundaram, Chandni Gagana, and more.
The film also reflects a maturing cinematic sensibility when it comes to LGBTQIA+ representation in Indian regional cinema. Coming after Antharam, for which trans actress Negha won the Kerala State Film Award for Best Actress in the Women/Transgender category, Njan Revathi continues a tradition of authentic, community-driven storytelling.
Recognising its depth and relevance, the documentary has been officially selected to several film festivals like the Kashish Pride Film Festival. It was also part of the South Asia ‘Big L to Indian’ competition section at the International Emerging Film Festival of Kerala (IEFFK), held in Kozhikode.
For Abhijith, this project was never just about capturing footage. It was a culmination of decades of work. "I did a photo exhibition at Kozhikode about the trans community. Then I did exhibitions at Malappuram and Trivandrum. The then Social Justice Minister offered help after knowing that such people existed in our state," he says.
His collaborations eventually led him to people in government, media, and activism who were moved to act. One such documentary, Avalilekkulla Dhooram, released in 2016, opened more doors. Yet, it was always Revathi’s story that tugged at his conscience.
Revathi, too, trusted Abhijith’s vision. “He told me a lot of times that he wanted to take my autobiography. Then, over the last two years we started the journey. I am really happy that he made this documentary.”
Not sympathy but action
“We want to support porattam (protest). Members of the community are getting murdered. When they get married, honour killings happen. In places like Kerala, the government is helping the community. We need support from everyone, not only from the community,” she says.
Economic instability, violence, and institutional apathy remain realities for many trans individuals. As Revathi points out, “I face a lot of economic issues. We get some money for the English books,” but even published authors face persecution when they’re trans.
As Njan Revathi is doing the festival rounds, there is more than anticipation in the air. There is hope — hope that this film will contribute to the fight of resistance of the queer community.
It is an invitation. To see. To feel. To know. And above all, to stand with. In a society still learning to accept gender diversity, Njan Revathi is a declaration: I am here. I am Revathi.