Some stories arrive softly, revealing the delicate threads that bind a family, while others come crashing in, shaking relationships to their core. Sarath Chandran RJ's debut feature Ouseppinte Osiyathu, which releases in theatres tomorrow, seems to navigate both extremes, capturing the fragility of familial ties when faced with an unexpected incident.
"Ouseppinte Osiyathu is a family drama that delves into relationships—between a father and his sons, a father and his daughter, and the bond of brotherhood. It also explores how a single incident, much like those we commonly see in families around us, can lead to the gradual deterioration of these relationships. While the film does have a crime element, that isn’t its central focus, nor is it an investigative film. Instead, it’s more about the emotional and interpersonal dynamics within the family," says Sarath.
Hailing from Trivandrum, Sarath is a College of Fine Arts Kerala alumnus who initially ventured into the advertising field before transitioning to filmmaking. His first step in this direction was Villain, a 2021 short film based on a story by renowned Malayalam novelist and screenwriter GR Indugopan. Featuring seasoned actors like Raghavan and Srikanth Murali, it explored themes of abandonment, fading memories, and family ties. It was this short film that set him on the path to feature filmmaking, thanks to the encouragement of his producer who heads the Maygoor Films banner. "After Villain, Edward Antony—who also runs the advertising agency I worked for in Bangalore—suggested that I take on a feature film. If a good film has to happen, there should be a strong producer behind it. And honestly, if it weren’t for him, this film wouldn’t have happened. He stood like a rock, pushing me forward and ensuring everything fell into place. That’s when we started looking for suitable scripts."
The genesis of Ouseppinte Osiyathu came unexpectedly, like a story waiting to be told, says Sarath. "This premise could have been approached in different ways—as a crime thriller or even an investigative story. We had multiple options. But instead of taking the easy route, we chose to explore how a particular incident alters the dynamics within a seemingly normal family and how it affects each member. Rather than implying that an incident has occurred and then investigating its reasons, we directly present the incident and focus on the emotional journey that follows—how it impacts their personal and professional lives." Reflecting on the film's evocative setting, he adds, "The film is set in Peermade and Kuttikkanam, where even the cardamom estates play a pivotal role. The lush hill backdrop is almost like a character in itself, setting the mood." Sarath recounts the two-year journey of his writer Fazal Hassan crafting a screenplay that went through nearly 30 drafts. "The climax, in particular, went through multiple versions before we locked at the one you’ll see in the film. Further, every prominent character has a well-defined arc—no actor’s screen space is wasted, and no one has been included just for the sake of it."
At the heart of Ouseppinte Osiyathu is the titular patriarch, Ousep, a wealthy yet miserly man who amassed his fortune through land dealings and money lending. Despite their successful careers, his three sons (played by Dileesh Pothan, Kalabhavan Shajohn and Hemanth Menon) remain tethered to his authority. For the role of Ousepp, Sarath knew early on that Vijayaraghavan was the perfect fit. "I decided on Kuttettan (Vijayaraghavan) for the role of Ousepp after watching Pookkaalam (2023). His character in Ouseppinte Osiyathu undergoes a transformation—from a headstrong man, who struggles to express his love for his children, to someone much more humble. I’m quite sure audiences will see a different side of him in this film. I’m not sure whether to call it a 'new dimension,' but it’s certainly a fresh version of Kuttettan compared to his roles in Pookkaalam and Kishkindha Kaandam (2024)."
Another key collaborator in Ouseppinte Osiyathu is cinematographer Arvind Kannabiran, known for his work in critically acclaimed Bollywood films like Manorama: Six Feet Under (2007) and NH10 (2015). Sarath credits him with lending the film its distinct visual language. "He’s an incredibly experienced director of photography, and since this was my debut feature, he played a crucial role in guiding me whenever I needed course correction. Thanks to his vast knowledge and expertise, we were able to complete the shoot efficiently within a tight schedule during July and August 2024. Also, I found it very easy to communicate my ideas and aesthetics with him."
Despite his deep passion for cinema, Sarath's journey into filmmaking was not without its detours. "I wanted to join the Film and Television Institute of India (FTII), but due to my circumstances at the time, it didn’t work out," he shares. Even as he remains open to exploring diverse genres, Sarath emphasises his interest in stories that revolve around human emotions and relationships. "I’m most passionate about telling stories that people can truly connect with," he signs off.
