United Kingdom of Kerala Movie Review: A film that lectures more than it connects

Arun Vaiga’s United Kingdom of Kerala (UKOK) follows the story of Tony, a young man from Kattappana whose father Royichan hopes to send him abroad for a better future. Royichan has pinned all his hopes on this plan, believing it will offer the security he never had. But as Tony grows up, he feels pulled in a different direction, choosing to remain close to his people, his land and his aspirations. The film opens with an intriguing present-day prologue that places the state’s political leaders together in an unlikely alliance before jumping back to rain-soaked Kattappana of the late 1990s. There, we witness Royichan’s youthful romance with Annakutty, a romance disrupted by a troubling misunderstanding, one whose consequences would shape the rest of their lives.

Director: Arun Vaiga
Cast: Ranjith Sajeev, Sarangi Shyam, Johny Antony, Indrans, Manju Pillai, Rony David Raj, Manoj K Jayan, Sangeetha, Meera Vasudevan

As the present storyline develops, Tony tries to follow the path set by his father. But as the narrative reveals, he is also caught up with local thugs in the first half of the film, using an alias and running petty jobs. When the film pivots into Tony’s search for a more independent path, the shift feels abrupt and underwritten. Ranith Sajeev plays Tony with sincerity, but his performance is unfortunately one-note. Even in charged moments, his expressions remain stiff and unchanging, which robs the character of the emotional weight needed to make his journey convincing. Johny Antony fares better as Royichan, bringing emotional gravitas to the role and grounding some of the melodramatic beats. It is a relief to see him rise above the weak material. Elsewhere, the supporting characters feel like placeholders. Mariya (Meera Vasudevan) as Tony's mother is mostly absent in Royichan and Tony's present-day life, with the film telling rather than showing what her departure meant for the family. Annakutty (Sangeetha) as Royichan's lost love appears only to justify his decisions.

Although the first half is passable, it never really delves into its setting or characters beyond broad strokes. The second half tries to tackle bigger themes like brain drain, bureaucratic apathy and systemic hurdles that crush local entrepreneurship. The ideas have potential, especially as they echo Malayalam classics like Varavelppu and Mithunam, which successfully explored similar struggles. UKOK tries to add its voice to this lineup but cannot decide whether it wants to be a heartfelt drama, a social commentary, or a coming-of-age story. Its lack of focus is especially disappointing considering Arun’s previous film Upacharapoorvam Gunda Jayan, which, for all its flaws, at least had a clear sense of purpose.

That lack of focus in UKOK becomes glaring in the latter half. What could have been a stirring personal story descends into a preachy, rambling mess. Too many contrived subplots, lectures and convenient resolutions crowd the narrative. Even the conflicts that feel substantial at first evaporate too easily. To make matters worse, the inclusion of needless songs at awkward intervals only acts as speedbreakers in an already tiring film with a depleted emotional core. By the time the story reaches its overly tidy conclusion, it feels more like an obligation than a resolution. In the end, this is a disappointing attempt to tell a story about self-determination and identity. Its scattered narrative, superficial characters and simplistic solutions dilute whatever impact it might have had. Earnest intentions can only go so far. Without a sharper focus and more nuanced writing, UKOK feels like a familiar tale told in a forgettable way. It reaches for something meaningful, but it never quite knows what it truly wants to say.