Barring some glorious exceptions, an utter pointlessness marks a good number of the zillion vlogs that get uploaded online every day. Often documented for the viewing pleasure of the public are the mundane details from the daily lives of the vloggers. But, some of them do spring surprises for those patient enough to sit through the uneventful visuals.
In his debut directorial, film editor Saiju Sreedharan attempts to distinguish himself by employing the ‘found footage’ technique in his film “Footage.” The movie revolves around a vlogger couple portrayed by Vishak Nair and Gayathri Ashok. The story, which may not appear innovative in a traditional narrative form, finds a unique expression through this unconventional approach. However, the film’s adventurous spirit doesn’t entirely save it from the pitfalls of its format.
Right from the beginning, “Footage” signals the couple’s habitual prying into the lives of others. They also compulsively document their intimate moments, many of which feel tangential to the core narrative. The film’s first half showcases visuals primarily from the man’s camera, and the second half revisits the same scenarios through the woman’s lens, filling in the gaps. This dual perspective aims to build a comprehensive view of their lives. Despite the attempt to layer the story, much of the footage, reminiscent of everyday vlogs, appears inconsequential.
The adventure takes a dark turn when the couple, with their cameras constantly rolling, begin to follow a mysterious woman, played by Manju Warrier, who lives in their apartment complex. Their obsession leads them into trouble, accentuating the movie’s suspenseful elements through their raw and often shaky film clips.
Sreedharan, known for editing acclaimed films such as “Maheshinte Prathikaaram,” “Kumbalangi Nights,” and “Virus,” leans heavily on this experimental technique to propel the narrative forward. Unfortunately, the sparse screenplay and thin plot material leave much to be desired. The central characters are inseparable from their cameras—even in perilous situations—providing a sense of immediacy but contributing little in terms of depth or development.
.
Much of the film is composed of visuals featuring shaky cameras aimed at running feet, scenes captured at odd angles, and immersive experiences within dark forests subjected to wind and rain. Some standout sequences include a close encounter with wild elephants and tense moments on an old, dilapidated boat adrift in the forest. The intricate sound design amplifies the impact of these scenes, while the background score from post-rock band Aswekeepsearching lends some sense of purpose to otherwise trivial scenes.
Nonetheless, the film’s ambition isn’t entirely matched by its execution. Manju Warrier’s character remains shrouded in mystery throughout. Her non-verbal portrayal—whether by choice or script necessity—leaves viewers guessing about her motives and history. This adds to the unresolved tension, but it also leaves critical narrative threads hanging, detracting from the film’s overall cohesion.
The revenge drama at the core of “Footage” seems clichéd and lacks the originality needed to stand out. Its predictable storyline and underdeveloped characters undermine the film’s experimental ambition. While the found footage style is a refreshing break from traditional cinema, it needs a stronger narrative foundation to make a lasting impression.
The innovative approach of “Footage” positions it as one of the pioneering efforts in the Malayalam found footage genre. Still, experimental elements alone cannot carry a film; stronger writing is crucial to sustain viewer interest and ensure a richer experience. With more robust storytelling, “Footage” could have transcended its experimental trappings to deliver a more compelling cinematic journey.
Despite these shortcomings, “Footage” is still running in theaters, catching the eye of those intrigued by its unique format. For audiences in search of something different, it offers an interesting peek into the possibilities of found footage filmmaking in Malayalam cinema. Whether Sreedharan can refine this technique in future projects remains to be seen, but “Footage” lays the groundwork for a genre that has yet to be fully explored.
