As Chatha Pacha: The Ring of Rowdies storms into theatres worldwide on Thursday, it does so not simply as a debut but as an audacious collision of memory, instinct, and ambition. Loud, flamboyant, and fiercely rooted in Mattancherry’s soil, the wrestling action comedy pulses with two parallel journeys: that of debut director Adhvaith Nayar and first-time producer Shihan Shoukath, both entering Malayalam cinema with a film that refuses to play it safe and wears its conviction loudly on its sleeve.
“Chatha Pacha is a fun action entertainer set in Kochi, specifically Mattancherry. It’s a WWE-inspired film, and we’re seeing it as India’s first of its kind,” Adhvaith says, framing the film in simple terms. “Beyond wrestling, the film is really about brotherhood, family, and friendship. At its heart, it’s about a group of friends trying to make something of their lives together and standing by one another.”
That emotional centre is what Shihan of Reel World Entertainment connected with first in his maiden production venture. “Come for the wrestling, but stay for the brotherhood,” he says, explaining what drew him to the project as a producer. The appeal, he felt, lay in how something visually outrageous could still feel emotionally grounded, speaking to universal ideas of companionship, loyalty, and family.
Adhvaith’s relationship with wrestling began early. “I grew up watching WWE on television, with my cousins and even with my grandfather,” he recalls. His later discovery of small wrestling clubs abroad, where ordinary people assumed extraordinary identities, gave him the emotional blueprint for the film’s world.
That memory extends far beyond personal nostalgia. For an entire generation in India, WWE became a parallel pop culture language, running alongside cinema and cricket. Names like John Cena, The Undertaker, Triple H and The Rock became mythic figures, debated in school corridors, their stunts reenacted on beds at home, and remembered as vividly as film stars. It is this ingrained familiarity that Chatha Pacha instinctively taps into, translating global spectacle into a local, lived emotion.
The project itself nearly disappeared before it found its destiny. “The first draft was much darker and more neo-noir,” Adhvaith admits, explaining how disbelief around the idea of an underground wrestling club in Fort Kochi led to the script being shelved. Years later, it resurfaced almost accidentally. “I showed Shihan and Ishan (Shoukath) the cover page of this old wrestling pitch, and they were instantly hooked,” he says, recalling the moment that pushed the film towards a more vibrant and accessible form.
Fort Kochi and Mattancherry were never just locations. “It’s a place where almost anything can happen and still feel believable,” Adhvaith says, describing the cultural density of the region.
For Shihan, choosing such a loud and physical debut was instinctive rather than strategic. “I kept asking myself, what can I bring fresh to this industry?” he says, reflecting on why he avoided safer, more familiar stories. The risk, he believed, was worth it because the difference itself creates curiosity and conversation.
That belief extended beyond the creative process and into how the film would meet its audience. Apart from Dulquer Salmaan’s Wayfarer Films handling the film’s Kerala distribution, Shihan’s production banner managed to partner with major players such as Dharma Productions, Mythri Movie Makers and PVR INOX Pictures for dubbed versions and releases outside the state. “I just knocked on doors. I called people. I pitched. Whether it was Dharma, Mythri, or others, the response was surprisingly immediate,” Shihan says. “These emotions, nostalgia, friendship, and ambition, translate universally. The story may be local, but the feeling isn’t. Malayalam cinema’s recent global recognition has helped too. Big players have been waiting for the right projects. Chatha Pacha landed in that sweet spot.”
Both debutants leaned heavily on an experienced technical ecosystem. “They ensured that while I was the only newcomer, the crew was extremely experienced,” Adhvaith says, crediting the producers for surrounding him with strong collaborators. Shihan echoes this focus on craft. “Coming from a cinematography background, I place huge importance on cinematography and editing,” he explains, underlining how the technical team shaped the film’s scale and confidence.
The wrestling action was designed to be exaggerated by choice. “This film is over the top by design,” Adhvaith says. Instead of conventional fight choreography, the team leaned into theatrical wrestling grammar. “All I had to do was give the initial brief and trust his vision,” he adds, speaking about stunt choreographer Kalai’s role in shaping the spectacle.
Casting followed the same collaborative spirit. The lead cast — Arjun Ashokan, Roshan Mathew, Vishak Nair and Ishan Shoukath — were actors Adhvaith had worked alongside across different projects during his years assisting filmmakers such as Geethu Mohandas and Rajeev Ravi. “My lead cast were all people I’ve known for years. They were involved at the script level itself, and I wanted to present every one of them in a way they’ve never been presented before,” Adhvaith says. Months of physical training followed. “My priority was injury prevention,” he adds, noting how the process demanded agility, flexibility and trust as much as strength.
Music became another emotional layer. Shihan recalls the excitement of working with Shankar-Ehsaan-Loy on their Malayalam debut and credits his production partner Ritesh S Ramakrishnan, a close friend of Shankar, for helping bring them on board. “They are children at heart. They love colourful, youthful, different ideas, and they’re also WWE fans,” he says, describing how naturally they connected with the film’s energy and nostalgia-driven tone.
Even the title Chatha Pacha carries local emotion. Shihan lauds Arjun Ashokan and writer Sanoop Thykoodam, who scripted the film from Adhvaith’s story, for insisting on a title rooted in Mattancherry. While the team initially considered the English title Ring of Rowdies, they were ultimately convinced the story needed something more local. “Roughly, chatha pacha means ‘do or die’ in Mattancherry slang. There’s no literal translation, but the attitude and the meaning are very clear.” For him, the phrase reflects the all-or-nothing mindset of the characters. “We’re also hoping that after this film, the phrase catches on and becomes a pop culture thing to say,” he adds.
Speculation around Mammootty continues to surround Chatha Pacha, but Shihan stays deliberately measured. “I can’t say, of course,” he laughs. “He’s been a part of our lives for a very long time, personally as well. When people ask whether Mammookka is in the film, I’d say he’s all over the film in terms of how he helped us. From the very first day, he helped us connect with the right people. He even put Mammootty Kampany’s staff on our project. He’s made a huge difference to this film, whether he’s in it or not.”
As the film finally meets its audience, Shihan keeps his promise simple. “Get ready to have fun. Get ready to laugh out loud. Get ready to be gripped by the narrative.” Beneath the noise, colour and chaos of Chatha Pacha, both he and Adhvaith are hoping viewers recognise the familiar warmth of friendship, the pull of shared childhood memories, and the courage it takes to live by one instinct. Chatha pacha. Do or die...