‘Masthishka Maranam’ movie review: Krishand’s latest offering is a wild, wild ride for sci-fi lovers

Krishand’s latest offering and his first big theatrical release, Masthishka Maranam: A Frankenbiting of Simon’s Memories, has Krishand’s stamp all over as he has, after all, written and directed it. The sci-fi flick - ‘retro-futuristic/cyber-punk’- feels more real than fiction, set in the not-too-distant future, 2046. It is as simple as it is complicated. If you liked Arun Chandu’s stunning debut, the sci-fi mockumentary, Gaganachari(2024) or Blade Runner, for that matter (but with humour), then this one is also for you.   

The future that Krishand takes us to is dystopian and occasionally hilarious for the sheer absurdity of things. A Neokochi with its flying cars, drones, cyborgs, climate change, memories on sale and, among other things, people whose lives are virtuality-dependent get painful memories surgically removed. Like Krishand’s other works, this film is complex, loaded with satire and socio-political commentary.

Rajisha Vijayan is impressive as Frida Soman, the superstar who is the stuff of everybody’s fantasies in the film. Performances are exaggerated because the story demands it, and also because the film is marked by Wes Anderson-esque eccentricity. Frida is a hat doff to Mexican artist Frida Kahlo. We, in fact, see Kahlo’s framed image in one of the scenes. The film’s universe has been built with thought, a generous dose of intelligence, and wit. There is a lot to unpack!

The action begins with Bimal Raj (Niranj Maniyanpillai Raju), who, to grieve the loss of his young daughter, plays a memory ‘empathy’ game to stay connected with her. While he dwells on the memory of his child, his wife has those surgically removed. As the film progresses, the virtual and the real meld. We are left wondering about reality, perception…the post-modern condition! 

In order to understand the film, understanding ‘frankenbiting’ helps, for those unfamiliar with technology/editing terminology. An editing technique, frankenbiting, is used in reality TV also to supposedly aid narrative manipulation (among other things) “to make a person appear more dramatic or more villainous.” This can be used to distort the reality/truth of a recorded event. Which is what happens in the film as we see versions of reality. 

Krishand’s stories are layered with meanings and suggestions, and each time you watch, a new layer unravels. Of course, there is commentary on society, showbiz, technology and everybody’s favourite punching bag, the media. It also delves into how artificial intelligence works or, on occasion, how it does not work, like when Bimal asks his virtual housekeeper to play sad, swag music.

The plot pivots on a leaked ‘memory experience’ game with Frida in it. Each ‘user’ accesses a version of the ‘experience’ different from Bimal’s, where he chances upon two murders. With the murders revealed, the story is a quest for the murderer. No more spoilers here.

Dystopia is never comfortable; the closeness to how things are today in the world we live in, Masthishka Maranam, is plausible, therefore discomfort-inducing. The experience game, how it is shared, what it leads to — the trial, the incongruities of the case when it gets to court (including the ‘friendship’ with the judge), the mic-shoving media circus a ‘celebrity’ trial becomes — and, most importantly, how a woman’s stardom is packaged and, how it is ‘consumed’.

There is so much going on that one wishes for a walk-through of it, to understand the writer’s process as someone who reads society much like a sociologist with a sense of humour.   

The actors, all of whom deliver, include the Krishand regulars, besides Niranj, Jagdish, Sanju Sivaram, Sachin Joseph, Santhy Balachandran, Vishnu Agasthya, and Zhins Shan. Nandhu and Suresh Krishna also essay important roles. Divya Prabha, with her hair dyed blond in parts, is an absolute unhinged delight to watch! She does the crazy with such ease, bringing just the right amount of ‘over the top-ness’.

A word on the cinematography with cyberpunk feels and the production design, both of which live up to the topic at hand. Along with that, the music by Varkey enhances the action.

All said and done, at 147 minutes, the film does feel a bit stretched, leaving one to wonder if the editing could have been taut.

To sum up, Krishand’s latest offering is not for everybody. It is chaotic, it is funny, it is absurd and scary. If you like sci-fi, the futuristic satire genre, then go for it. The film is entertaining, interesting and thought-provoking because we seem to be headed in that direction.

Masthishka Maranam is currently running in theatres