Pattth movie review: Jithin Issac Thomas’ magnificent film underscores hunger is the mother of all inventions, including art

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At a time when the concept of ‘experimentation’ in Indian cinema — particularly in Malayalam cinema — is largely confined to subject, theme or narrative structure, Jithin pushes boundaries by experimenting with form as well, elevating it almost to the level of auteurship. Made entirely in the 4:3 aspect ratio, a format historically associated with 35mm celluloid film and the visual style of early cinema and television, at the heart of the narrative is Unni (Ashik Safiya Aboobakker), a struggling film editor, his girlfriend Anupama (Gauthami Lekshmi Gopan) and a song they encounter in a travel vlog Unni is editing. The video features members of a Kenyan tribe performing what they describe as a traditional song. To Unni’s astonishment, his grandmother overhears it and begins singing along, claiming she knows the song. Confused by how his grandmother in Kerala could be familiar with a “Kenyan” song, Unni and Anupama share her rendition on social media to trace its origins. The response is overwhelming as numerous people come forward, all claiming to know the song.

This sparks their decision to create a documentary exploring the song’s origin. However, they soon realise that while the song’s essence remains constant, each person’s version differs, influenced by their context or interpretation. For instance, a Pentecostal pastor believes the song reflects his faith, while a Hindu woman associates it with her deity. One person interprets it as a love song, while another dubs it as a poetic description of the environment. Despite these variations in a few words in the lyrics and perceived meaning, everyone sings the same tune, illustrating the idea that art, in any form, belongs to everyone. Unni and Anupama further travel across Kerala, meeting and interviewing people from diverse backgrounds. With each new encounter, the mystery of the song deepens, revealing its multifaceted nature and the shared yet fragmented ways in which art connects us all. But once they get to the bottom of it, the two — and by extension, the audience — are led to a greater universal truth, one that can be viewed as the very foundation of all art.

From the outset, Pattth strikes the right tone, drawing viewers into its world with meticulously crafted and well-staged moments. The choice to use a 4:3 aspect ratio enhances the film in other ways as well since the square, box-like frames naturally centre the audience’s attention on the characters and their conversations about the song — originally created using artificial intelligence (AI) — effectively eliminating distractions.

While a significant portion of the film features the characters sitting before the camera and narrating their versions of the song’s origin, Jithin’s dialogues, infused with ethos and humour, keep these sequences engaging, avoiding the monotony of repetitive monologues. When the film shifts away from the documentary segments, the focus falls completely on Unni and Anupama, who too discuss the song and the project. Even then, the filmmaker manages to keep audiences engaged. In these moments, Jithin subtly explores their relationship, skillfully revealing, without being explicit, that their bond is healthy and mature, where both partners’ opinions, preferences and differences are valued equally. Nonetheless, the portrayal doesn’t shy away from their occasional conflicts, often stemming from Unni’s careless and unhygienic habits. Yet, their ability to collaborate professionally without letting disagreements there overflow into personal spaces underscores their compatibility and mutual respect.

Team Pattth

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Interestingly, in Pattth, while the scenes depicting Unni and Anupama’s conversations have straight-edged frames, the documentary segments use curved edges and this subtle variation demonstrates Jithin’s creative use of the aspect ratio to enhance the storytelling further. By traversing different terrains and introducing characters from diverse socio-economic backgrounds, Jithin skillfully crafts a microcosm of Kerala society while illustrating the influence of art — particularly music — on people and communities.

At the same time, the film also delves into the human tendency to claim ownership, culminating in a poignant revelation of the song’s true creators. Towards the end, we see, in black and white, a tribal couple — who live far from mainstream society and sustain themselves through nature — reciting the song. When asked about the song’s meaning, they simply respond, “hunger,” elevating the narrative, presenting a profound universal truth — that hunger is the mother of all inventions, including art.

Pattth movie director Jithin Issac Thomas

Although some of the written humour falls flat at times, the performances — by both the lead duo and supporting cast — help the movie overcome such flaws. Particularly notable are Jasmine Kavya as Sumathi Teacher, Surya S Kurup as Shakuntala and Benny John as Abhilash Abhi, who deliver standout performances.

While Anandhu Sheji Ajith’s editing is sharp, the placement of the makeout scene between Unni and Anupama is slightly off. Although the scene is both sensual and visually striking, its placement comes across as jarring and could have benefited from a more seamless integration into the narrative flow. Subhash Kumaraswamy’s cinematography is outstanding throughout, with every frame radiating brilliance. His exceptional composition of shots — wide, mid and close-ups — demonstrates a remarkable ability to draw out the emotional depth of the subject through visual storytelling. Milan VS’s stunning music takes the film to unparalleled heights, while Ajayan Adat’s impeccable sound design adds the perfect finishing touch.

Pattth movie cast: Ashik Safiya Aboobakker, Gauthami Lekshmi Gopan, Jasmine Kavya, Surya S Kurup, Benny John
Pattth movie director: Jithin Issac Thomas
Pattth movie rating: 4 stars