Jithin Raj’s directorial debut, Pallotty 90’s Kids, transports us to a simpler time, where childhood was all about experiencing simple joys, beyond screens. Presented by distinguished filmmaker Lijo Jose Pellissery, the film won Best Children’s Film at the 53rd Kerala State Film Awards, with Davinchi Santhosh’s portrayal of Kannan earning him Best Child Artist. Following its theatrical release, this celebration of friendship has garnered praise from legendary figures in the industry, including Mammootty and Mohanlal, who both met the team to congratulate them. Jithin, alongside his team—writer Deepak Vasan, cinematographer Sharon Sreenivas, and editor Rohit VS Variyath—began their creative journey in college, forming Crangannoor Talkies, named after the old Kodungallur. Their passion for storytelling led them from short films to this beautiful tribute to the 90s, all while remaining independent.
As we catch up with Jithin amidst the continued success of Pallotty 90’s Kids in theatres, he fondly reflects on the journey that brought the film to life, especially the challenges, the moments of inspiration, and the wave of nostalgia that has resonated with audiences, and more.
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Would you say your own childhood bore any resemblance to the experiences of Kannan and Unni in the film?
Everything in the film—the characters, the setting—felt deeply relatable to me, reflecting my own upbringing. I come from a small village called Vellangallur in Thrissur, where I was actively involved in an arts club that helped me develop my artistic skills. It was this club where I found people like Kannan and Unni, alongside references to all the characters in the film.
What films or filmmakers influenced your vision for Pallotty 90’s Kids?
I enjoy films from all languages and genres, with a particular fondness for children’s films like Majid Majidi’s Children of Heaven (1997). In Malayalam cinema, Jijo (Punnoose) sir’s My Dear Kuttichathan (1984) and Aravindan sir’s Kummatty (1979) hold a special place for me, and they likely influenced my approach to Pallotty 90’s Kids. Also, I felt there was a lack of films in our industry that could be equally enjoyed by both children and adults these days. We also wanted to showcase our local landscape to a wider audience beyond Kerala, inviting them to connect with it, even if they didn’t fully grasp every cultural nuance. The reception at the Bangalore International Film Festival, with an audience primarily from Karnataka and Tamil Nadu, was a great affirmation of our approach in that regard. Another special moment for me and the team was when Jijo sir watched the film with us. His appreciation was deeply meaningful and gratifying.
While working on the script, did you intentionally seek to set it apart from other films that capture 90s nostalgia?
Absolutely. During the scripting process, Deepak and I were clear that we didn’t want to force nostalgic elements just for the sake of it or in a way that might feel cringe-worthy. Instead, we aimed for nostalgia to arise naturally as part of the story set in the 90s. We also wanted to introduce fresh elements not typically seen in our films.
The performances of Davinchi Santhosh and Neeraj Krishna are among the film’s strongest pillars. How did you arrive at casting them?
I initially made this story as a short film with the same title, featuring debutants Davinchi and Neeraj in the lead roles. I’ve known both of them and their families personally, as they’re from my hometown. When casting for Kannan, Davinchi’s father invited me to his birthday, and on seeing his photo, I immediately felt he was perfect for the role. Similarly, when I saw Neeraj, I instinctively thought he would be ideal for Unni. The short film was well-received, with their performances highly praised. When we decided to adapt it into a feature, there was no question of casting anyone else, as the film’s success hinges on the connection between these two characters and the audience.
Can you recall any particular challenges or unforgettable moments from the process of making it a feature film?
Making our first feature was a major turning point in our careers. One of the biggest challenges during the shoot was filming in a village in Palakkad during the intense heat. The kids had to endure gruelling conditions, while we also dealt with the tensions of the ongoing pandemic. We filmed the scenes with the kids at the end of 2021, and then shot the scenes with Arjun Ashokan and Balu Varghese, who played the older versions of the kids, in mid-2022. Arjun and Balu joined the project after seeing the rushes of the kids’ scenes, which made a strong impression on them.
How did Lijo Jose Pellissery become involved with the film?
After completing the shoot, we showed the film to Lijo chettan, and he was impressed. He mentioned that the film had many great moments and immediately offered to present it. His heartfelt appreciation gave us a great deal of confidence in our work. Having such a respected figure like Lijo chettan, a well-established brand in the industry, supporting us has been immensely helpful in attracting audiences to the theatres.
Was there any concern about how generations beyond millennials might respond to the film? And what has been the response from Gen-Z audiences so far?
I was initially concerned about how the film would resonate with the current generation born after the 2000s. However, I’ve always believed that if a film connects with viewers, they will engage with the characters and their journey, regardless of personal relatability. True to my instincts, I’ve received positive feedback from them as well. One striking review headline from someone in this generation was, “Pallotty 90’s Kids is the 4K remastered version of the 90s (laughs).”
Are today’s children missing out on the joys of playing outdoors and finding happiness in the simple, everyday moments, as they increasingly focus on their screens and gadgets?
We can’t blame anyone for that evolution. The purpose of this film was not to argue or suggest that we were living a better life but rather to document that a life like this existed, as a visual reminder for the younger generation. Visuals have a stronger connection than stories passed down as hearsay, and we wanted to offer them a nostalgic glimpse into that world.
The original runtime of the film during its festival screenings was just over two hours, but the theatrical version is under 100 minutes...
Yes. Even the censored version we submitted for awards had a runtime of over two hours. However, for the theatrical release, we were concerned about shorter attention spans, especially with the rise of short-form content like reels on social media. Attracting audiences to theatres had become challenging, so we deliberately decided to keep the film concise, ensuring that none of the audience felt the narrative lagged. This meant cutting a few scenes that were personally significant to me, though I’m working to include them in the OTT version, like an extended cut. Most of these scenes focus on the exchanges between Kannan and his grandmother but were removed without affecting the story’s coherence. The shorter runtime also allowed us to secure better show timings.