If it was her spunk and charming smile in Kumbalangi Nights (2019) that catapulted her to the hearts of cinema lovers, her dedication to the craft has made Anna Ben a sought-after name in the south Indian film industry in a matter of just six years.
Now, with projects branching out in various languages (Kalki 2898 AD and Kottukkaali) and OTT penetration further taking her to greater heights, the horizon has further expanded for the once-reluctant, now award-winning actor.
Here, in a candid chat with TNIE, Anna talks about her love for stories (which stems from her father and screenwriter Benny P Nayarambalam), early years in cinema, taking on big projects, tackling challenges posed by varied roles, dealing with uncertainties, the St Teresa’s effect, hobbies, and more.
Excerpts:
Now, this story is well-known already, but how did you get into cinema?
It was through an audition — a random one. I just went for it and my life turned around. That’s how it happened.
You were already familiar with the world of cinema, right? Given your father’s (Benny P Nayarambalam) connections with the industry…
Yes, that’s right. We used to accompany Appa to film locations occasionally. It was like a picnic for us. So yes, I had seen films being made quite a bit. But that didn’t make being on set easy or familiar later on, when I started acting.
Did those visits make you yearn to get into the film industry?
Not at all. My excitement about these visits was more about meeting Appa’s friends and listening to their stories. Dance shoots were fascinating to watch. But beyond that, I wasn’t interested. Also, the actors I grew up watching, like Salim [Kumar] uncle and Innocent uncle, were in a league of their own. Watching them perform, you never imagine stepping into that space one day.
Some of Appa’s friends had asked if I was interested in acting. But at the time, it was not something I thought I could pull off. I had doubts whether I deserved it. To be honest, I was a bit of an introvert — my friends would disagree — and the idea of performing in front of a crowd was scary.
Was Kumbalangi Nights the first film you auditioned for?
No, I had attended quite a few auditions. At St Teresa’s College [in Kochi], where I studied, there used to be auditions almost every week. We would attend just to bunk classes (laughs)!
Did studying at St Teresa’s give you a leg up in your acting career?
Not just in my acting career, but in life. The all-women space was the most liberating one I have been in. I unlearned so many things that limited me.
My friends and I — 22 of us — are still close. Initially, none of us even wanted to study there. All of us wanted to move to another state, experience freedom away from home. But after the first semester, we realised we were exactly where we were supposed to be.
Your house has been one full of stories, we are told. Did growing up around stories influence and refine your script selection process?
I think so. When I hear a story, if it holds my attention from start to finish, I know there’s something special in it. Also, Appa used to discuss his stories at home, and from those, I have come to recognise the elements that make up a good story. I keep an eye out for them when reading or discussing scripts.
You said your father discusses scripts with you — could you elaborate on that?
When he writes comedy, he tests it on us. And if we laugh, he would say, ‘The locals have liked it (laughs)!’ He often bounces ideas off us – twists, interesting plots.
Do you also discuss scripts with your parents?
Yes. Appa and Amma are the first people I call when I get a script. Usually, it’s Amma because Appa is often busy with work. Amma is one of the best critics I know. At the end of the day, however, I make the final decision.
Does the label of being a popular screenwriter’s daughter weigh on you?
I am a very proud daughter. So, naturally, there’s a responsibility to reflect well on him. But I have always been my own person. He and I have our own principles. What I respect the most about him is that he gives us the space to discuss things. He never says, ‘Don’t do it.’ We talk. This, I feel, has been important for my personal growth.
Initially, did the Kumbalangi Nights team know that you are Benny’s daughter?
They knew once the shoot started, but not during the audition process.
Which was the most complex scene for you in Kumbalangi Nights?
It might sound arrogant, but in that film, I genuinely didn’t feel intimidated by any scene. The crew gave us the space to do our own thing. Everything on the scene would be ready, and we just enter as the characters. The dialogues felt very natural, like everyday interactions. A challenging scene was the one wherein Shane [Nigam] catches a fish with his foot. We were casually chatting before the shot, and I sympathised with the hapless fish. Then, Shane, too, felt bad for the fish. We eventually had to do that 17 times, and I had to cry in every take. As natural tears dried up, I had to use glycerine!
You started acting at a young age, yet the characters you portrayed required maturity and intense emotions. How were you able to pull that off?
In the beginning, I was conjuring a maturity I did not have. Needless to say, I was reckless and endured a lot of mental strain because of that. Over time, I learned how to balance it better. Also, I make it a point to not take on too many emotionally intense roles back-to-back. That way, I won’t burn out.
In Kumbalangi Nights, there’s a scene, which had a lot of nervous energy, with Fahadh Faazil. How was that experience?
Since I was a newcomer, they didn’t want me to get overwhelmed, and kept the scene for the last. I remember there was a lot of silence on the set that day. When I arrived, no one was talking to me. They said, ‘Today is an important day.’ Then, Syamettan (Syam Pushkaran) called me and said, ‘We are doing that scene today, where you argue with your brother-in-law’. When I entered the scene, I had such a nice back-and-forth with FaFa. He is an incredible artist and can build chemistry with absolutely anybody. I felt immediately comfortable. I just reflected his energy. When he raised, I raised. It was so much fun!
In Kottukkaali, you transitioned from playing a jumpy, energetic girl to a stoic woman. Did you feel the need to break away from the ‘bubbly girl’ image?
No actor would want to be typecast. Kottukkaali’s space was amazing. It was one of the best sets I have ever worked on. When I was doing Kumbalangi, I didn’t fully understand how rare and important that kind of environment was, because it was my first film. But when I came to Kottukkaali, I knew how rare an ideal environment for an actor actually is. When I got that, I made the most of it. It was a small team, only 40-45 people. The film was created in an intimate space. It’s a very special film, and it talks about an important subject.
You hardly had any lines in the film...
Yes, it was a challenge because I had to convey a lot of things without saying anything — using only emotions and body language.
Do these characters influence the real Anna Ben?
Definitely. Because, as you get into their skin, you become more vulnerable and at the same time, brave. For, you are letting yourself open up to so many emotions, so many lives and journeys. I think that just helped me be a better person.
What about the times when you are not working on any projects?
Initially, I stressed out a bit. I now focus on growing as an individual. When I am working, I give it my all, and I remind myself never to complain because I don’t know when my next opportunity will come. Now, I have learnt to accept uncertainties.
Do you have any hobbies?
I used to love painting. Lately, I have been drawn to pottery. I have been taking classes and doing clay modelling. I like working with my hands — things that are tangible and tactile, like embroidery. I also plan to learn dancing this year.
Do you feel pressured to maintain a social media presence?
When I first came into the industry, I was naive and thought just doing my work was enough. But over time, I have realised that being visible is part of the job. Not in an attention-seeking way, but in a way that keeps you connected with people.
When is your next Malayalam project starting?
I don’t know. I hope very soon. I am going through scripts and having conversations with several people.
You shot an action film directed by Ranjan Pramod. What happened to that?
That project stalled after the pandemic hit. I had trained in stunts for the film. But from what I have learned, no effort is wasted. For instance, I was involved in another film for which I trained hard at javelin throw. But just a day before the shoot, the second lockdown was announced and the project got shelved. I felt really low. But I know, this is a skill I have acquired, and what you’ve learnt is never a loss.
That must have helped you in Kalki…
Yeah, it did actually. So yeah, something or the other will eventually work out.
Was that radiant smile in Helen's climax part of the original script, or was that the Anna effect?
Mathu chettan (director Mathukutty Xavier) approached me with a script he knew inside out. From the opening scene to the end, he had everything planned — even the music and editing choices. So the ending was always meant to be like that. The first narration was actually given to [actor-director] Lal uncle, who suggested my name after hearing the story. They hadn’t even considered me at first.
In Helen, you spent nearly half the film alone in a claustrophobic space. How was that experience?
It was just my second film, and I was quite reckless back then. I pushed myself too hard, mentally torturing myself to get into that emotional space. It was taxing. After Helen, I couldn’t sit calmly in a closed space.
During the shoot, every morning, I had to meditate, get into that headspace, and break down on cue. I even had a panic attack during a trust-fall scene — I just couldn’t do it. Thankfully, the team was incredible. Many of them were friends, and I felt safe being seen as vulnerable.
Lal uncle also taught me the skill of switching on and off as an actor. I remember watching him during a scene where he searches for Helen. He was actually crying, but as soon as the shot was done, he brushed it off and walked away. That’s something you learn with experience.
You acted alongside your father in Sara’s. When can we expect to see you again in his script?
That Appa has to decide (laughs). We did shoot for a film called Anchu Centum Seleenayum, but it’s caught with a few issues now. Dubbing and other works are yet to be completed. I am hoping it will be out soon. It’s a slice-of-life film with a tinge of humour — typical of Appa’s scripts. He plays a drunkard in the film.
Are you rebellious at home?
Yes, all the time. It’s only lately that I have mellowed down a bit. Most often my fights are with Appa — just to irritate him. That’s the environment at home. Appa always wanted to be an approachable father, not a terrifying figure.
How did you and family handle the ‘Gunda Binu’ trolls after your role in Kaapa, and the first look from Kalki 2898 AD?
My family and friends would be the first to send me these trolls. I take them all on a lighter note. When Kalki’s poster came out, even I thought it was funny. So can’t blame the trolls. Thankfully, the role and that scene, in particular, got a great response when the film came out.
Did you ever rethink about doing the role in Kaapa?
No, because it was a project done for the FEFKA Writers’ Union and I would never rethink about something done for a greater cause.
The film ends on a cliffhanger. If ever there’s a sequel, would you take up that role again?
Why not? I knew the response for that role would be different from what I might get for a Kottukkaali. But I still want to do a variety of roles. It’s only after doing Kaapa did I realise that my performance in a negative shade wasn’t adequate. It made me think about how else I could make it work. If the performance is not landing with my physique and dialogue delivery, then I should find another approach and that’s a challenge I want to take up.
How did you become part of Kalki 2898 AD, and how was the experience working on it?
I got an email from the production house, which I initially ignored thinking it might be fake. But later, it proved genuine. After I responded, they set up a Zoom meeting where Nagi (Nag Ashwin) sir briefed me about the story and everything. Since he’s very much into Malayalam cinema, he had seen my works and thought I would be apt to play Kyra, a chirpy and optimistic person. I liked the character and was impressed by the ambitious world that they were building.
The first few days were a bit intimidating because we were shooting in massive sets amidst high security. They were very secretive about the project, with strict restrictions on using mobile phones. Having come from Malayalam cinema where we work with a lot of budget limitations, I was blown away by their scale. But Nagi sir trusted me a lot and just wanted me to have fun.
After having done films like Kalki, are you now looking for just lead roles or any meaty character?
I think we have broken all such notions of doing only lead or titular roles. Kalki is an exception because any actor would want to be a part of a massive, one-of-a-kind project like that.
There is no compulsion to play a lead character for me. It depends on the story, the team behind it, etc.
Your first film, Kumbalangi Nights, is said to be a gateway for non-Malayalis towards Malayalam cinema. Did that attention affect you in any way? Did you expect it would cross borders…
We never imagined anything like crossing borders.... When people say Kumbalangi Nights is where everyone started paying attention to Malayalam cinema, I feel a bit sad. We have always made good films, right?
And yes, it’s success and the attention it spawned was intimidating. I wasn’t prepared to handle that much. Initially, it was really hard, be it attending events or giving interviews, etc. I mean, I was quite young to handle it also. But then, slowly, you learn to set your boundaries. My family helped me a lot.
Are people from other industries approaching you now after Kottukkaali and Kalki’s success? Are you looking to explore further and become a pan-Indian actor?
Both Kalki and Kottukkaali happened unexpectedly. But it is always good to explore, right? It helps you learn so much. Now, I’m listening to scripts from Tamil, Malayalam, Telugu and Hindi.
After the Hema Committee report came out, many said it tarnished the image of the Malayalam industry…
Well, as my good friend Parvathy said, I’d rather have a better environment than maintain a false image. So, we are all working towards creating a good work environment. Be it a woman or a man, everyone deserves a safe space where they can trust the people around them, focus on their craft, and not make things difficult for others. That takes effort, and unfortunately, it hasn’t always been the case.
This isn’t just about our industry — these issues exist everywhere. The first step is addressing them. If that ‘tarnishes’ the image, so be it. That’s how change happens.
You have been a rebel in your characters and personally, too. Have you ever had to be a rebel in the industry?
I think you have to be smart about your rebellion in the industry. My rebellion was always at home, and there, the consequences were not harsh because my family loves me. Later, when I entered the industry — where the environment is sometimes challenging — I understood that certain things need to be handled differently. Knowing where I come from, my privileges, and where I can reach out to people with them has shaped how I navigate situations.
At the end of the day, I’m quite protective of my work environment and the industry I work in. Malayalam cinema is my bread and butter, my family, and my friends. So, I always try to resolve conflicts internally, like how you discuss family issues before taking them outside. And sometimes, if it’s beyond what I can handle alone, I explore who else I can reach out to.
Sometimes, words alone won’t change things. Instead, how you act on issues matters more. There are moments when I don’t have the energy to fight certain battles, so I choose to step away. Other times, when it’s necessary, I speak up. But more than making ‘noise’, I focus on what I can do – how I interact with people and how I create my own space.
Are you a part of WCC?
No, not officially.
What are the differences you have noticed across industries?
There are many cultural differences. In the Malayalam industry, familiarity plays a big role. I work with people I grew up seeing, so there’s an ease to it. Someone new to the industry wouldn’t have that same comfort. The producers here are people I have known for a long time, which makes things feel more personal.
But when I work in Tamil and Telugu, the environment is much more professional. Not that Malayalam cinema isn’t professional, but there’s a certain familiarity here — like an uncle you know being part of the project. Tamil and Telugu industries operate on a different scale, especially Telugu. The budgets are huge. The cost of a single day’s production on a Telugu film could cover an entire Malayalam film’s budget. The approach is different, and it works brilliantly for them because of cultural factors.
It’s also about adapting. Even when judging scripts, I can’t approach a Telugu or Tamil story the same way I do a Malayalam one. I have to understand their industry, their audience, and the environment they cater to. That’s a crucial factor.
Do you think there’s a lack of strong female characters in Malayalam cinema?
Yes. When I look back, there were so many brilliant female characters. The roles actors like Urvashi chechi did were incredible. But somewhere along the way, there was a shift. Now, interesting characters are being written, but I feel there’s hesitation due to uncertainty in the industry. People aren’t willing to take risks. I’m not sure what’s causing that, but I hope more strong female characters get written.
That said, I’ve seen more interesting women in real life than I have in cinema. It’s not that we lack compelling female stories — it’s just that we need writers who understand women’s lives and perspectives. We don’t need constant portrayals of struggle, pain, or trauma. We already know about these realities — we hear about them daily. But women have so many more dimensions that aren’t being explored in films.
Young girls today have a very different outlook on life compared to previous generations. When was the last time we saw a fresh coming-of-age story about a young woman?
Have you had a discussion with your father?
Appa is very afraid. Because when I ask him some of his characters or their dialogues, he will be like, ‘What should I write?’ It is like he really loves to do it. He is very open about it. He sits with me and talks to me about what the youth talk about today and what’s happening. I love the fact that he is willing to learn and understand.
Using violence against women to enhance the male character’s arc… where do you stand on this now-familiar trope in Malayalam cinema?
In some projects when I get the titular role, the main plot points will be the woman going through marital rape or postpartum or some other social issue. But, my question is always where is this intention coming from? Is it out of genuine concern about the subject or to make a film out of it just because it is talked about? The intention matters. I have turned down some projects because of this lack of ethics or dishonesty.
Has it now fallen on you to also be a voice for the people of Vypeen? In 2023, you had written a letter to the CM asking for better public transport for the region…
I don’t see that as a burden at all. With the kind of privilege I have, this is the least I can do for my people — and I love my people. The love and life experience Vypeen has given me is immense. A part of me is still there.
If you have been to Vypeen, you know how cut off it is from the city. These are mostly working-class people already spending so much time, money, and effort just to commute. The least I could do was try to help find a solution. And I am really happy that some changes have happened — some extra buses have been added. But there’s still a lot more that needs to be done.
(Team TNIE: Vignesh Madhu, Vivek Santhosh, S Neeraj Krishna, Najiya Nazrin, Ronnie Kuriakose, Mahima Anna Jacob, Krishna P S)
TP Sooraj (photos)
Harikrishna B, Pranav V P (video)
