Kayamai Kadakka – When two Facebook pals with similar ideologies meet together, they are both startled by how much their actual selves differ from their virtual personas.
We observe the protagonist Santosh (Masanth Natarajan) ‘like’ a Facebook post that states ‘Death to the rapists’ in an early scene in Kayamai Kadakka. He then scrolls down to a message that says, ‘Burn the rapists alive.’ With an enthusiastic ‘Yes,’ he shares this post. He smiles smugly after that. He has done everything he can to protect women’s safety. The next day, he runs across his namesake (Vatsan M Natarajan), who also happens to be a Facebook friend and discusses his views on rape. Santosh, on the other hand, gets the shock of his life when he witnesses the other Santosh really doing what he says on social media!
Kayamai Kadakka is a minimalist thriller that keeps us guessing about where the storey will go next. It’s an ambitious independent that manages to punch beyond its weight. Santosh tells a police officer that he knows the identify of a killer they’re looking for and describes how he got to know him. Director Kiran, on the other hand, manages to keep the audience guessing about his trustworthiness. Is there another Santosh out there? Is he a Keyser Soze-like individual who is impersonating cops?
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Rather than cheap thrills, the director is more concerned with creating an atmosphere. We, like Santosh, are on a journey that is becoming increasingly weird and feels like a nightmare. Kiran, who plays with his audience’s expectations by gradually disclosing the surprises, also offers difficult-to-answer ethical dilemmas. One of our characters is a person who suffers from multiple personality disorder.
inside him is a vigilante and a law-abiding citizen. Then there’s another persona who looks to be someone who isn’t who he appears to be on social media! Will we accept such a person in real life if we whistle and watch a vigilante on screen?
Even a few of far-fetched situations (such as a scuffle inside an ambulance) do not detract from the narrative intensity. The performances are sincere, and while the film’s few characters and abandoned locales give it the appearance of a short film at moments, the craftsmanship is strong enough to mask the low budget. Sundar Ram Krishnan’s cinematography and sound design work together to completely immerse us in the scenario.
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