Debutant filmmaker Sharan Venugopal's Narayaneente Moonnaanmakkal is set to hit the screens this coming Friday. The film, a "family drama exploring dysfunctional relationships", stars Joju George, Suraj Venjaramoodu, and Alencier Ley Lopez in the lead as siblings. According to Sharan, the film's idea began to take shape as early as 2018, during his time at the Satyajit Ray Film and Television Institute (SRFTI) in Kolkata. "This is an emotional family drama that people can easily relate to, as it unfolds like a story that could take place in a neighbouring house," says Sharan.
Speaking about the story's genesis, Sharan shares that the setting was no accident. "The story is set in Koyilandy, Kozhikode, where I spent a significant part of my childhood. I have a deep sense of nostalgia and attachment to that place, and the people there have always intrigued me." For Sharan, this connection to his roots was integral to the development of the narrative. "Naturally, when making my first feature film, I wanted to set it in that familiar space," he shares, adding, "I did not set out with a predefined story or a fixed narrative path—it simply evolved as I continued writing and completing the script. It was the characters that shaped the story."
The film's writing process itself took several years to complete. Unlike Sharan's diploma film Oru Paathiraa Swapnam Pole (2021), which won the award for Best Film on Family Values at the 67th National Film Awards, Narayaneente Moonnaanmakkal benefited from more creative freedom. "The writing process of Narayaneente Moonnaanmakkal was smoother than that of Oru Paathiraa Swapnam Pole, which I had to complete within the budget constraints and a given timeframe as my diploma film," he explains. When asked about influences while writing Narayaneente Moonnaanmakkal, Sharan reflects, "I have consciously tried to avoid influences from past works, but I cannot guarantee that I haven’t been subconsciously influenced by films I grew up with. I generally prefer watching films that explore interpersonal relationships and everyday interactions with the people in our lives. These stories genuinely excite me, and I naturally gravitate towards writing such narratives as well."
About the challenges regarding making a feature film, Sharan adds, "Moving on to directing a feature film brought an entirely new set of challenges, starting with pitching the project to a producer. In the case of an academic project like Oru Paathiraa Swapnam Pole, you don’t have to worry about the film’s future or how audiences will receive it. We are taught to prioritise artistic freedom. Stepping out of that environment and making a feature film requires consideration of its commercial aspects as well. When presenting a film to a producer, you need to be prepared with answers about how it will work, how audiences will perceive it, and where it fits in the market. Ultimately, filmmaking is a business. You cannot approach it solely with the mindset of an artist alone. You have to be pragmatic as well."
One of the most striking aspects of Narayaneente Moonnaanmakkal is its casting. Sharan was fortunate to bring on board an ensemble cast that he originally envisioned for his project. "After completing the script, I first narrated it to Joju chettan, and he liked it—especially his character—which gave me the confidence to approach Suraj chettan and Alen chettan. Even when I pitched the project to the producer, the pitch deck already included their names. As a debut filmmaker, I feel incredibly fortunate to have got my dream cast," he says, adding, "Like many directors have said in the past, I believe that when you get your casting done, half your job is done as a filmmaker. Once you have the right cast, a major hurdle is already overcome."
In one particularly memorable sequence, Sharan recalls how a scene delivered by Joju George left everyone on set speechless and came out even better than he imagined. "There is a monologue sequence featuring Joju chettan towards the end of the film. After calling 'cut' for that scene, we were all left speechless, unable to process what we had just witnessed. The entire set fell silent, overwhelmed by his performance. Even now, whenever I think about that moment or watch the scene, I still get goosebumps."
Despite the post-pandemic shift toward grand spectacle films, Sharan remains hopeful that his emotional drama will resonate with audiences. “It was true that, immediately after COVID, people went to cinemas mainly for grand spectacles, but I believe that trend is shifting. I feel very positive about Narayaneente Moonnaanmakkal in that way and I'm curious to see how audiences will receive it,” he says with a sense of optimism. Sharan also goes on to particularly credit the film’s producer, Joby George, who previously backed last year's blockbuster film Kishkindha Kaandam. "Initially, we had a non-Malayali producer. Joby (George) chettan came on board after the shoot was completed. I was very excited when he joined the film, as Goodwill Entertainments has produced successful films across various genres. I also believe that making a good film is not enough; we need the right production house to ensure it reaches the audience effectively."
Sharan’s journey to filmmaking wasn’t a traditional one. Growing up in Kozhikode, he didn’t initially have an overwhelming exposure to cinema. “Going to theatres to watch films was such an infrequent experience that I can still vividly recall the films I watched, the theatres I visited, and even the distinct smells of those theatres,” he reflects. It wasn’t until he moved to Thiruvananthapuram to pursue Mechanical Engineering that his path toward filmmaking began to take shape. "The city's vibrant film culture and exposure to diverse cinema through film festivals led me to the realisation that cinema was the medium through which I wanted to express my ideas," he shares.
His time at SRFTI further solidified his commitment to the craft. "One of the most enriching aspects of my four years at the institute was the mandatory film screenings—two films every evening after 6 pm. These were followed by in-depth discussions, which further deepened our understanding and appreciation of cinema." Sharan’s cinematic influences are rooted in both Indian and international filmmakers. “The filmmaker who influenced me the most is the Polish filmmaker Krzysztof Kieślowski, who made the Three Colours trilogy. I started watching his films after joining the institute, and they had a deep impact on me,” Sharan says. He also holds Indian legends like Satyajit Ray in high regard. Among the current crop of Indian filmmakers, he particularly praises Chaitanya Tamhane, whose works Court (2014) and The Disciple (2020) have left a lasting impression on him. “I am eagerly looking forward to seeing what he's making next,” he shares.
When asked about his future plans, Sharan expresses excitement about experimenting with genres. “My next story will be in a completely different genre. I even want to make an action film,” he says.