What if someone had stepped in sooner? It is the question at the heart of Eyes, Manu Ashokan’s first web series, recently released on SonyLIV. The show imagines a preventive policing unit that spots the warning signs before obsession turns to violence. No such team exists in reality, and the filmmaker knows it. But in the hands of the writer duo Bobby-Sanjay, who have scripted both his films Uyare and Kaanekkaane, the idea feels less like fantasy than a quiet plea. Taking up stalking cases that echo the headlines, and with a dynamic ensemble led by Nikhila Vimal, Kani Kusruthi and Shruti Ramachandran, Manu does what he has always done best: examining the complicated, often toxic bonds between people with empathy rather than judgement.
In this conversation, Manu discusses adapting his filmmaking sensibilities to long-form storytelling, his creative equation with Bobby-Sanjay, the research behind Eyes, why artistes must be conscious of what they choose to glorify, and more.
Excerpts:
What was the first thing that excited you about Eyes?
I like emotional thrillers and the dynamics of intense relationships. Also, a web series gives you more freedom compared to making a film. There is more scope for detail, and you can spend more time with the characters and explore their emotional journeys. It’s a format I hadn't explored before, and the subject was what drew me to it in the first place.
All your directorial ventures so far have been scripted by Bobby-Sanjay. What makes your creative collaboration with them special?
They don't hand me a bound script and ask me to direct it. I was involved with Eyes from the initial idea, and we worked together on its growth, turns, and twists. One of the best things about working with them is getting to travel with a story from seed to final output. When someone gives me a bound script, I would naturally have questions that need answers. With Bobby-Sanjay, those questions and answers become part of the writing process itself.
When the idea first came about, did the stalking cases interest you, or was it the idea of creating a preventive task force?
The original story came from Sanjay chettan's wife Anjana (Nayar) chechi. As the number of stalking-related crimes increased and she read about them in newspapers, she began thinking about how such incidents could be prevented. The first thing that came to mind was preventive policing, and we imagined a fictional team that does not currently exist anywhere as an officially commissioned unit. From there, we developed the case files, individual stories, and the larger narrative.
How did you adapt your filmmaking approach while moving to the web-series format?
A series has its own demands: a hook at the beginning, a midpoint, and a cliffhanger, and we kept these in mind while writing. We also watched several international series to understand their storytelling and how that could translate to the Indian context. But to be honest, I approached Eyes much like a film. I didn't think performances, shot division, or editing required a completely different grammar. The real challenge was fitting everything into the time frame. With episodes running for 45–50 minutes or more, multiple characters and an emotional roller coaster to sustain, getting the actors into the right rhythm was equally important.
The idea of a task force that can identify and intervene before someone turns violent is quite optimistic. Did you ever worry about its believability while developing the story?
When we made Uyare, one of our dreams was to see an acid attack survivor get selected by an airline as an air hostess, rather than be judged by conventional standards of beauty. Unfortunately, that didn't happen. Similarly, we knew a team like the one in Eyes didn't exist. But we wanted the larger idea of preventive policing to find some reflection somewhere. Eyes is a reminder of that possibility. It must begin at home, of course, but technical support from the system to facilitate it would help a lot.
How much research went into ensuring the psychological and policing aspects of Eyes felt authentic?
We spoke to several psychologists and police officers over an extended period. We wanted to ensure professionals in these fields wouldn't feel we had made a complete blunder. We based the terminology and language on what we learnt through these conversations. But we didn't take one person's opinion as the ultimate truth, as the human mind can be understood in different ways, and there isn't always a definite conclusion. Since we were telling a fictional story, we also needed creative freedom. Finding the right balance between professional authenticity and the demands of fiction was the key.
Each case in Eyes explores different facets of obsession. Was that the most challenging case to explore?
Sajin (Dev Mohan) and Shobitha's (Saniya Iyappan) case was both challenging and unfamiliar territory for me. We often see toxic relationships portrayed among ordinary people, but rarely within the bureaucratic or upper classes. We wanted to establish that obsession and toxic behaviour can affect anyone, regardless of their background. From an execution standpoint, maintaining ambiguity was the biggest challenge. In the third episode, viewers should be left wondering whether Sajin is innocent or Shobitha is manipulating the situation. We deliberately underplayed certain nuances in Sajin's behaviour, which may become clearer on a second viewing. Dev and Saniya’s performances, too, helped me achieve that balance.
You have assembled an impressive ensemble, bringing together familiar actors and newcomers...
We wanted to experiment with newcomers while balancing them with familiar faces. That's how Nikhila, Kani and Shruthi came on board, as we wanted the three central women to represent different backgrounds. Prabhu (Muralikrishnan) and Riya (Jithu) were among the newer faces who brought freshness to their characters. Also, I didn't want to cast newcomers randomly, so I identified people from different places and brought them on board based on what each character required.
One thing that works particularly well is the dynamic within the Eyes team. They challenge one another, disagree, and sometimes point out when someone crosses a line...
We developed those interactions during the writing process. They are human beings too; they have their own flaws, opinions, and personal problems. We wanted to incorporate all of that, and we needed the team to feel relatable. We knew there would be internal conflicts within the team, but those interactions became clearer as we went deeper into development.
Cinema has often romanticised possessiveness and controlling behaviour in the name of love. How much responsibility do filmmakers have in shaping how society perceives such relationships?
Society has changed considerably, and we need to be more conscious of how we portray love and possessiveness. When someone's behaviour begins to intrude into another person's personal space, both sides need to pay attention. We cannot simply label someone a culprit and leave it at that. The responsibility begins at home, in how we raise our children and shape the attitudes of people around us. As filmmakers, we must question ourselves: what are we saying through our art, and what are we glorifying? I believe every form of art should influence society positively, but it must be used consciously and responsibly.
Have you thought about a second season of Eyes?
No. We didn't begin the series intending to make a second season, nor did we end it with that expectation. We have reached the point we wanted to reach with this story.