For debutant filmmaker Martin Joseph, the release of Dridam on May 8 marks the culmination of a journey that began on the sets of Jeethu Joseph’s films. Having worked as an assistant director on projects such as Drishyam 2, 12th Man, Kooman, Neru and Nunakkuzhi, Martin now steps into the spotlight with his own investigative thriller, starring Shane Nigam in the lead role.

Set in a hill station, Dridam follows Vijay Radhakrishnan (Shane), an ambitious young police officer who arrives at his first posting expecting a quiet and peaceful station. But things spiral after human remains are discovered on private property, forcing Vijay into a tense murder investigation under immense public and departmental pressure.

While the film carries the framework of a police procedural, Martin says Dridam is ultimately centred on its protagonist’s personal journey. “Dridam is about the struggles Vijay goes through right after his first posting as a police officer,” he explains. “While the film has the elements of an investigation thriller, at its core, it’s really about his journey, how he deals with the odds stacked against him and tries to solve the case.”

That emotional core became important for Martin while shaping the film for Malayalam audiences, who have consumed investigative thrillers from across languages over the years. “Malayalees watch films from all languages, so audiences today are exposed to every kind of investigative thriller,” he says. “The biggest challenge with the genre is that people start predicting what’s going to happen next after almost every scene. So the real challenge is finding ways to stay ahead of those expectations.” Martin adds that while certain familiar storytelling beats are unavoidable in the genre, the team consciously crafted moments that would still feel surprising and convincing.

The origins of Dridam go back to Martin’s association with writers Jomon John and Linto Devasia, who initially approached him with a relatively simple premise. Martin recounts that he came into contact with the writers through filmmaker Febi George, director of Written and Directed by God, which Jomon and Linto had co-written. “What they initially pitched was a very simple thread: a young and ambitious police officer gets his first posting at a station, and the problems he faces and solves soon after taking charge,” he recalls. “The character was really the starting point for us, and from there we gradually developed the story and the world around him.”

Once the script was complete, Shane Nigam immediately emerged as the unanimous choice to play Vijay. “Honestly, the moment we completed the script, Shane was the first name that came to all our minds,” Martin says. “We wanted someone who looked young and had that relatable boy-next-door quality, while also carrying a certain maturity.” Looking back now, Martin says he cannot imagine another actor playing Vijay. “What I admire most about him is how effortlessly he conveys emotions through his reactions and expressions, especially with his eyes,” he reflects. “In quite a few scenes, he actually delivered more than what I had expected from him.” Regarding the film's tone, Martin says realism was always a conscious creative choice, though he admits the narrative occasionally shifts into more cinematic territory to sustain engagement.

Martin’s years under filmmaker Jeethu Joseph inevitably shaped his approach to filmmaking. Interestingly, he says the biggest lesson he absorbed was not about staging thrillers or writing suspense, but about temperament on a film set. “One thing I’ve consciously tried to learn from Jeethu sir is his leadership quality, especially the way he handles an entire film set so calmly, without angry outbursts or unnecessary tension,” Martin says. He also points to Jeethu’s preparedness and adaptability as qualities he deeply admires. “He always seems to have a Plan B ready, even when something doesn’t go as originally planned,” he explains. “That approach definitely influenced me while making Dridam, especially in terms of how I wanted the atmosphere on set to be.”

Jeethu, who is also presenting the film, was primarily involved during the scripting phase. “I still remember how excited he was when he said, ‘There’s definitely a good film in this, let’s do it,’” Martin recounts. Despite being associated with the project, Jeethu allowed the young team creative freedom during production. “He trusted us completely and gave us the space to handle the film in our own way,” Martin says.

Now, with the release here, the filmmaker describes his emotions as a mix of excitement and nervous anticipation. “This is something I’ve dreamt about for years,” he says. “In between all this, I also had a minor bike accident and picked up a small injury. Strangely enough, I’ve been taking it as a good omen, like a small bit of pain before something good happens.”