‘The story of many Govinds from Uyare’: Director Manu Ashokan dissects his web series Eyes | Malayalam News

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Edited excerpts:

The trailer for Eyes highlights four words: love, obsession, control, and madness. How would you describe the significance of these four words to the series?

The current socio-political scenario was the first thing we thought of during the discussions of Eyes. In Uyare (the 2019 movie that marked Manu’s directorial debut), relationships were the main theme. While Uyare focused on one toxic relationship, Eyes becomes more global and expands the circle significantly. It is about relationships, but it moves beyond simply labelling what is right or wrong.

It discusses how to address mistakes. It’s easy to crucify people, but we must explore different ways to tackle these issues. We delve into the idea of moving forward while holding both the victims and the accused close to us. We aim to offer solutions as well, not just highlight the problems.

We often dream of change. In Uyare, Bobby, Sanjay, and I envisioned an acid-attack victim becoming an air hostess. That was our tangible dream, but it didn’t come to fruition in reality. Similarly, Eyes also has a dream that we hope will come true and receive the attention it deserves.

Uyare’s Govind displayed extremely controlling behaviour and resorted to stalking and harassment before eventually attacking his ex-girlfriend with acid. Would you say Eyes explores the stories of many such Govinds and their criminal behaviour more broadly, while also exposing how society un/knowingly becomes complicit in enabling their growth?

Definitely. Govind (played by Asif Ali) could be described as a small circle, while Eyes deals with these issues on a global level. The themes it discusses exist across all levels of society. Unlike Govind, whose circle was confined to love, this show explores those themes in all aspects of life. It shows the many Govinds we encounter in different areas of our lives.

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So, unlike Uyare, where the stalking and attack were triggered by “heartbreak,” Eyes will discuss stalking across various life situations, am I right?

Stalking is a major topic, and the show explores various forms of it, not just one kind. Yes, stalking is central, but the stories of these characters involve much more than that. You’ll see as it unfolds. It can’t be defined by just one term.

In an interview last year, while discussing your acting workshop platform, Chhaaya With Manu Ashokan, you said, “acting cannot be taught, and Chhaaya is a platform to polish talent.” How has your experience with Chhaaya influenced you as a director?

Chhaaya started after Eyes, but the experience of managing a cast of about 100 in Eyes inspired the workshop. Dealing with so many characters during pre-shoot and then their casting was a massive undertaking. About 80 per cent of the cast, mainly those playing minor roles, were newcomers. During the process, I realised that many people aspire to be in the limelight before focusing on the craft of acting or internalising and effectively reproducing a character.

However, these newcomers bring a fresh energy and spirit. In Eyes — beyond the main characters played by Nikhila Vimal, Shruthi Ramachandran, Kani Kusruti, Saniya Iyyappan, and Dev Mohan — new actors have also shouldered key plot moments and circumstances. They showed incredible commitment. They needed just guidance, since they already displayed impressive dedication. I really enjoyed working with them.

Nikhila Vimal and Shruthi Ramachandran in the latest Malayalam streaming series, Eyes.

At Chhaaya, I don’t “teach” acting. I simply create an environment where they can perform freely. This environment allows them to express themselves openly, both on and off-camera. For me, Chhaaya and Eyes are complementary.

Uyare, Kaanekkaane, and Eyes handle heavy themes and explore complex emotions. What is the process like when collaborating with Bobby and Sanjay, given that all three of your directorial ventures have been penned by them?

Our relationship goes back a long way. Our friendship began through the late director Rajesh Pillai (Manu was once Rajesh’s associate). He was our common link, and his death brought us closer. We connected by talking about life beyond cinema. The vibe we share transcends the creative and technical space.

Hence, we have an unspoken understanding when discussing ideas. Sanjay and I even live nearby. The three of us are very close, both mentally and physically. For us, making cinema is almost a byproduct of our friendship. Stories don’t feel forced; they evolve naturally.

Shruthi Ramachandran in the Malayalam streaming series, Eyes.

I step in as a director once an idea they are developing reaches a certain stage, at which point my vision also comes into play. We’ve discarded many stories that we felt weren’t working. Our friendship allows us the freedom to discard ideas, providing a massive creative space for us to work in.

Do films just reflect society, or can they actually influence the audience?

I believe it’s a bit of both. Some people are influenced, while others aren’t. Take the ongoing protests led by the Cockroach Janta Party (CJP), for instance. There are people who are deeply affected and those who are not — some care deeply, while others don’t.

Coming to cinema, after Uyare, many people, including celebrities, contacted me saying they were like Govind. Some also related to Alan (Tovino Thomas) or Paul (Suraj Venjaramoodu) from Kaanekkaane. However, there were also people who didn’t experience any of that. For them, cinema is just entertainment, much like watching cricket.

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However, to me, art is a responsibility. It shouldn’t just be for entertainment. If a film makes someone think for a couple of days, it has succeeded. Art is more than just numbers. I’m not saying that entertainers aren’t needed; of course, cinema is an industry with business goals. However, I feel it shouldn’t be just about entertainment. I want my films to help Govinds recognise themselves, or help other people spot the Govinds around them. I believe Eyes will be able to do that in a larger way.

Is it difficult to be such a responsible filmmaker?

It’s very difficult. Survival is also very important, right? We not only want people to see our work, but we also want them to think and respond actively. Achieving that is difficult. That’s why I have significant gaps between my consecutive projects. I don’t want to just move on to the next thing; I want to create something reflective, which is always a challenge.

Lastly, what’s the status on Junior, the campus-based film you announced last year as your next directorial venture after Kaanekkaane?

Honestly, we are tackling some challenges that have come up in the story. We are working through some [creative] blocks. Even though it’s touted as a campus film, we want it to be more than just superficial. Finding that “something extra” is the challenging part we are currently addressing. However, we haven’t given up on it yet.