Just before the release of his long-cherished debut feature Moonwalk, filmmaker Vinod A K speaks with quiet enthusiasm and thoughtful calmness. With over two decades of experience in advertising, he’s a man used to telling stories in thirty-second bursts. However, Moonwalk, which hits theatres tomorrow, is a full-length canvas that he paints with nostalgia, rhythm and youthful passion. “I hope it will be a joyful ride for everyone. It’s a film that both young people and older folks can relate to, so we expect it to have a universal appeal,” Vinod says, distilling the film’s essence into a single, hopeful sentence.
At first glance, Moonwalk might seem like a dance film because its trailers tease kinetic energy, music, and vibrant choreography. But Vinod insists it’s more than that. “Dance was their passion, but what drives the story is the life behind it, including the friendships and the romances that happened while they were chasing their dream,” he explains. As he describes it, “Moonwalk could be a musical drama or a coming-of-age film,” though he’s unsure how to classify it. Set in the 1980s, the film immerses audiences in a time before smartphones and social media. Vinod reflects on the era’s unique social fabric. “If you wanted to say something to a friend, you had to go to their house or meet them somewhere. Hardly anyone had phones or gadgets back then. It’s not that today’s generation lacks depth. With technology, connectivity has improved, but back then, we shared a special bond without any of that.” This sentiment shaped both the tone of the film and its visual texture. Vinod’s team scoured Trivandrum, where the story unfolds, seeking locations that retained the flavour of the past. “Today, wherever you look, you’ll see flex boards everywhere. But back then, most of the advertising was done through paintings on the walls of houses. Sometimes we’d finalise a location after a recce, but when we returned to shoot, we’d find that it had changed in a way that didn’t fit the film's time period,” he recalls. Ultimately, the film’s key settings span Puthenthope, St Andrews, and Kazhakkoottam. “But today, Kazhakkoottam looks completely different, with the IT park and all those big buildings. So we ended up shooting in the rural areas of Neyyattinkara and Nemom to capture the right look and feel.”
Initially, the team planned to cast familiar faces in the lead roles, to leverage star value. Vinod recalls, “There were talks with a few established actors.” But soon, they realised those actors would have to fit into their unique way of working. The film demanded several days of orientation and training, especially because the dance style belonged to a particular era and was very different from today’s cinematic choreography. “We understood that busy actors wouldn’t be able to dedicate that much time to a film like this,” Vinod explains. Meanwhile, the team was scouting fresh faces as an alternative. After discussions with the production team, Vinod got approval to move forward with newcomers based on his conviction. “After seeing the film, I can’t imagine anyone else in place of those wonderful newcomers,” he reflects. Apart from the fresh talent, only Srikant Murali and Veenah Naair appear as familiar faces. Vinod also shares a glimpse of an alternate idea. “Initially, I even had thoughts of casting Ishaan Khatter for the Hindi version, which would have been a completely different approach.”
For Moonwalk’s dance choreography, Vinod turned to Sreejith, whose ties to the 80s dance scene in Kochi brought a layer of authenticity. “Over time, we kept interacting, and I found out that he was actually part of a dance team in Kochi during the same era that the film is set in. He also knew about the subtle differences in the dance styles between dancers from Trivandrum and Kochi at that time.” Moonwalk received a major boost when acclaimed filmmaker Lijo Jose Pellissery came on board as presenter. Vinod reveals, “There were a few issues holding the project back, and Lijo offered to take responsibility for sorting them out. That was an unexpected and much-appreciated helping hand. It was also his initiative to bring Listin Stephen on board as a co-producer.” Lijo’s involvement was far from symbolic. His guidance, drawn from years of experience, gave the team the confidence to push their creative boundaries. “I have experience making ad films, but working on a full-length feature is different. You often go with your gut feeling about what will work for the audience. Getting reassurance from someone of his stature on those instincts was deeply valuable,” Vinod says.
Music, a pivotal thread in the fabric of the film, brought Vinod together with composer Prashant Pillai. “Prashant was the first person I brought in as one of the technicians. He sent me some samples of the ideas he had been working on, and that’s how it all started,” Vinod recounts. As Moonwalk is about to reach audiences, Vinod’s hope remains simple yet sincere. “Just come and enjoy,” he signs off with a smile.
