Shaji N. Karun

Olu is the tale of a girl who gets gang raped and sunk to the bottom of the backwaters where she can mysteriously survive and live for the next nine months -until she delivers her ‘baby from rape’.

Swapaanam (Malayalam: സ്വപാനം) (English translation: The Voiding Soul) is a Malayalam film directed by Shaji N. Karun and produced by M. Rajan for Horizon Entertainments. The film features Jayaram and Kadambari in the lead roles,[1] alongside Siddique, Vineeth, Lakshmi Gopalaswamy in supporting roles. The cinematography was held by Saji Nair and music was composed by Sreevalsan J Menon, while the script was written by Harikrishnan and Sajeev Pazhoor, based on Shaji’s own story.[2] The film was screened in the Dubai International Film Festival.[3] The film released with Auro 3D sound in selected theatres, becoming the third Indian film to employ the technology after Vishwaroopam(Tamil) and 1- Nenokkadine (Telugu).[4]

Swapaanam (Malayalam: സ്വപാനം) (English translation: The Voiding Soul) is a Malayalam film directed by Shaji N. Karun and produced by M. Rajan for Horizon Entertainments. The film features Jayaram and Kadambari in the lead roles,[1] alongside Siddique, Vineeth, Lakshmi Gopalaswamy in supporting roles. The cinematography was held by Saji Nair and music was composed by Sreevalsan J Menon, while the script was written by Harikrishnan and Sajeev Pazhoor, based on Shaji’s own story.[2] The film was screened in the Dubai International Film Festival.[3] The film released with Auro 3D sound in selected theatres, becoming the third Indian film to employ the technology after Vishwaroopam(Tamil) and 1- Nenokkadine (Telugu).[4]

Kutty Srank is a short-tempered, lonely, but law-abiding boatman whose work leads him to travel the back waters of Kerala

A mistaken call from a young boy who is trying to reach his mother disrupts the peace of a couple, Gopi and Sati.

A mistaken call from a young boy who is trying to reach his mother disrupts the peace of a couple, Gopi and Sati.

An exploration of the multi-faceted personality of the filmmaker of international repute G. Aravidan.

Kunhikuttan, a famous Kathakali dancer, meets Subhadra, a woman from an upper caste family, who falls in love with his character rather than himself.

Kunhikuttan, a famous Kathakali dancer, meets Subhadra, a woman from an upper caste family, who falls in love with his character rather than himself.

A widow's grief for her husband provides the focus in this tender Indian drama. Ramayyar was the joy of Ananpoorna's life. His recent death literally drained all color from Ananpoorna's life. The movie is a combination of her memories and her present situation. Before her husband died, the two owned a small cafe in Kerala, their home village. The remote little town is connected to the world by passing trains en route to the city of Trivandrum. When the funeral is finished, Ananpoorna finds herself destitute and unable to support her teenage son and daughter. To pay her debts, her cafe is sold and razed. Afterwards she moves in with her brother-in-law. Her son, Kannan, must decide whether to join the military, at the advice of the stationmaster, or join his friend who journeys to the Middle-East.

Raghu, the only son of Raghava Chakyar was born late for him. So he poured his entire love and affection on him. Raghu, studying in an engineering college in a far away city has to arrive at his home to attend the engagement ceremony of his only sister. But he doesn't. The father starts his endless wait for his son. He daily waits at the bus stop till the last bus from the town also returns. Raghava Chakyar comes to know from newspapers that Raghu was taken into custody by the Police for political reasons. He reaches the capital and meets the higher Police officials. But they pretended helpless as there is no proof that Raghu was taken into custody. Raghu's sister comes to understand that he probably would have died in police custody after being tortured, but cannot bear to tell this to her father. The old man's grip on reality slowly slips and he starts dreaming that his son is with him

Raghu, the only son of Raghava Chakyar was born late for him. So he poured his entire love and affection on him. Raghu, studying in an engineering college in a far away city has to arrive at his home to attend the engagement ceremony of his only sister. But he doesn't. The father starts his endless wait for his son. He daily waits at the bus stop till the last bus from the town also returns. Raghava Chakyar comes to know from newspapers that Raghu was taken into custody by the Police for political reasons. He reaches the capital and meets the higher Police officials. But they pretended helpless as there is no proof that Raghu was taken into custody. Raghu's sister comes to understand that he probably would have died in police custody after being tortured, but cannot bear to tell this to her father. The old man's grip on reality slowly slips and he starts dreaming that his son is with him

In the 1950s a village in Kerala is preparing itself to be included in the nation's electric grid. Things are looking up for villagers and everyone is optimistic about the progress that electrification will bring. However soon some trouble brews starting with petty quarrels on trees being felled for the power lines. A series of unfortunate events follow the electrification as the village comes into terms with rapid modernization.

The story is about Ramu (Vineeth), a 16-year-old boy who is staying with his annoying uncle, who gets angry and often treats Ramu like a slave. On a trip to the pilgrim town of Guruvayoor with his uncle (played by Thilakan), Ramu meet 15 year old Gouri (Monisha), who has come with her grandmother. Both find love, and after sharing a few tender talks and moments depart without a clue that they will meet again. When back Ramu runs away from his uncle and lands up in the city with his neighbor namboothiri (played by P Jayachandran). As fate would have it, Ramu and Gouri meet again. Good conduct and intelligence of Ramu gets noticed and he is asked by a lawyer to stay in the house, where Gauri is a maid. The lawyer's deaf and dumb daughter Lakshmi (Saleema) gets attracted to Ramu and the lawyer fixes the marriage without asking Ramu. The triangle love story leads to a sad ending.

Four bachelors struggle to overcome obstacles that come their way when they fight against the British to attain India's independence.

Three friends, Sakharia, Gopi and Bilal go to a brothel for enjoyment. They find a girl who was forced into prostitution and decide to save her.

Chidambaram is based on a short story by noted Malayalam writer C V Shriraman. The film is a deeply symbolic exploration of the man-woman attraction leading to betrayal and eventually to the purgatory of guilt.

A henpecked politician wants his name attached to a new bridge, even if that means destroying another, perfectly serviceable bridge.

Set in Nainital, Manju is about Vimala Devi, a teacher in a boarding school, who waits in hope for the winter of her discontent to vanish. Another important character is Buddhu, who waits for his Englishman father to return to Nainital. Loneliness and endless waiting are recurring motifs in the film.

Alice is a teacher at a boarding school in Ooty. A prodigal and unruly son of a Member of Parliament Xavier Puthooran, Ravi Puthooran joins the school in Alice's class. Alice manages to mentor him into a good student.

The protagonist of the film is a young artist (Balachandran Chullikkad) who lives with his father, a radical friend, a sportsman and a music-loving young woman. His world collapses when his father dies, the radical friend leaves him, the sportsman friend gets injured in an accident and has to give up sports and her family takes the woman away to another city.

Esthappan is a fisherman, who lives in a seashore colony. His story unfolds through narrations by other fishermen about his miraculous acts. Through the contradictory statements of these people, a mystical figure of Esthappan unfolds.

A trickster magician descends upon a village in Malabar, India, year after year, drawing children whom he transforms into animals through sorcery.

Across a dirt road, the circus truck comes to a village. The tent goes up. Schoolboys run to the tent. Village women come and watch an acrobat roll a hoop across a tightrope. A lion leaps from the edge of one stool - across darkness - on to another stool. A gap-toothed old woman gazes at a goat on a tight rope; her eyes are wide with curiosity. For three days the circus makes small ripples in the life of this village. Municipal permits are required. At a toddy shop, a soldier befriends the circus strongman; a pump attendant sits on a rock each day watching a village girl bathe and dry her hair. The dwarf brings back to the circus a watermelon larger than his head. In the film's three days, we, the viewers, learn the geography of the village: the banyan treewith leaves like transparent film, the shining water, the light on the sand at sunset. When the circus leaves the village, it leaves us. The narrative says: The circus comes and leaves; life goes on.

The film interprets a story from the Uttara Kanda of the epic poem Ramayana, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Sita is never actually seen in the film, but her virtual presence is compellingly evoked in the moods of the forest and the elements. The film retells the epic from a womens' liberationist perspective, and is about the tragedy of power and the sacrifices that adherence to dharma demands, including abandoning a chaste wife.