KD is one of the best films I've watched this year! Here's Why?

Thalaikoothal is a traditional practice in Tamil Nadu which involves administrating involuntary euthanasia to the elderly by their own family members. The film KD that recently premiered at the UK Asian Film Festival, draws on this ritual narrating the story of KD, an eighty-year-old man who runs away from home after learning of his family’s intentions to kill him. 

Although the premise might activate a plethora of preconceived notions regarding the plot, the narrative doesn’t delve into the complexities of this illegal but widely celebrated practice in South India. Death, when manifested in the form of a catastrophe upon unapologetic abandonment from one’s own family, invariably results in the loss of will to live. KD’s escape from his family is then, followed by a chance encounter with a ten-year-old boy Kutty. An orphan residing in the premises of a temple, Kutty is both spirited and ingenious, having every trick up his sleeve, it takes for survival. When these two contrasting worlds initially collide, there are clear signs of hostility. However, the incongruities are soon resolved as the mismatched pair embarks an adventure of their own. 

Through the course of their chronicle, Kutty not only creates a bucket list of to-do things for KD but also imposes on himself the onerous errand of indulging KD into ticking them off. Having mastered the crucial craft of survival at a tender age, Kutty with utmost expertise induces the art of celebrating life, in a man struggling to validate his existence. What could have been an over the top dramatic tear-jerker, comes across as a jubilant joyride courtesy the dollops of humour convincingly weaved into the narrative. In unlikely assimilation of both the characters, who are an antithesis of each other, the film consistently engages the audience while keeping the emotional quotient unwavering.  The acting performances are top notch and the dialogues, despite my unfamiliarity with the language had me crack up. The cinematography despite a glorious retelling of a tale in the soil of Tamil Nadu, doesn’t fall out of sync with the storyline. The film is also a specimen of masterful editing, and as a member of the audience, I refused to bat an eyelid as it cut from frame to frame.  The biggest revelation, however, has been Writer-Director Madhumita whose flawless execution of a terrifically penned down script has been awe-inspiring. Merely five films old, her seasoned expertise in the craft of filmmaking is writing on the wall registering her as one of the best female filmmakers the country is to witness. 

The film isn’t a social commentary on the custom of Thalaikoothal, and at no point gets preachy or ambiguous. At its heart it is the story of a man who has lost all that he had, meeting a boy who never had anything in the first place.  As they address their vulnerabilities eventually finding a home in each other, multiple layers in their characters are dissected with utmost nuance. Simultaneously the film fairly critiques the problematic socio-cultural context through the juxtaposition of parallel narratives skilfully enhanced by the performance of the supporting cast. Drawing from a plain sailing premise, writer-director Madhumita serves an assortment of flavours in the narrative which are crafted for a pan-India pallet.