Just a few minutes into Pani, we see a ruthless murder executed in broad daylight, right in the heart of the buzzing Thrissur city. This gripping sequence sets us up not just for a raw, action-packed experience but also to take serious notice of Joju George, the debutant director. Throughout the film, there are many such moments signalling flashes of a promising filmmaker, like this sequence after a woman is subjected to some horrifying assault. The whole family is shattered and thirsty for vengeance, making it the perfect setting for a composer to amp up the pathos and subsequently, rage. But Joju, the writer-director, shows remarkable restraint by letting silence take over this all-important sequence. Instead of deafening music and arousing monologues on avenging, the emotions are conveyed through comforting glances and touches. The immediate focus is on the survivor and not on seeking revenge. Though assault is the key trigger factor in this revenge drama, the film encouragingly advocates that sexual assault needn't be the end of the world.

Director: Joju George

Cast: Joju George, Sagar Surya, Junaiz VP, Abhinaya, Bobby Kurian, Sujith Shankar

So Joju plays Giri, a wealthy and influential builder with a history of crimes. Though not directly involved anymore, Giri's close aides are still an active part of Thirssur's crime world. How about two boys, probably in their late teens or early 20s, ruffling feathers with these powerful men? First accidentally, and then voluntarily. It might look like a David vs Goliath-like situation, but the boys here are a terrifying mix of brutality and fearlessness. Sagar Surya and Junaiz VP are brilliant as these boys, who have no particular reason to be such terrorising outlaws. Or at least, the film doesn't resort to any backstory to justify their actions, which is also the beauty of it. It's as if the film suggests—they are like this because they chose to be it. How these two nobodies manage to outsmart and—even—intimidate a whole army of gangsters and cops is what makes Pani interesting.

Among the two, Sagar Surya's Don is a better fleshed-out character as we get to see him beyond his cold-bloodedness. He's a charming but deceptive lover who has no qualms about slitting throats with a pleasant face. The characterisation and Sagar's performance remind one heavily of Vishal Jethwa's terrifying turn as a serial killer in Mardaani 2.

After establishing the primary characters and their conflicts, Pani becomes somewhat like a cat-and-mouse game. However, the screenplay lacks the required raciness, which is also because Joju relegates himself to the backseat and lets others hog the space. Yes, we know Giri is a ticking time bomb waiting to blast any moment, but his continued absence for long periods means the film is robbed of some much-deserved high moments. Although the other actors, be it Bobby Kurian, Sujith Shankar, or Prashanth Alexander, are all effective, the writing should have been smarter to keep the guessing game on. Strangely, the film also turns a blind eye towards a potential character like Chandhini Sreedharan's cop.

One of the most striking aspects of Pani is its gritty and grounded treatment. Props to cinematographers Jinto George and Venu and composers Vishnu Vijay and Sam CS, whose works are in perfect sync with the film's mood. Unlike most films of this genre, the background score here is not just intended to be pulsating but to complement the rousing drama. The makers also manage to pull us closer to the world by shooting in real, crowded locations. Take, for instance, the brief scene in Guruvayur Temple. It lasts hardly 30 seconds but adds so much depth as we see Giri's family gradually limping back to normalcy. In a film abundant with bloodshed and violence, tender moments like this are a much-needed relief.

Despite some generic writing and blips in crafting a thrilling latter half, Joju makes an assured debut with Pani. As an actor, it took him an agonisingly long journey before he made a mark, but that's definitely not the case as a filmmaker—his debut brims with promise.