Vinod Vijayan

Vinod Vijayan, oh man, the dude’s like a chameleon in the Indian film world. He doesn’t really stick to one genre or vibe. One minute you’re watching Ottaal, and it just crushes you with this gentle, poetic sadness. There’s a kid, a grandfather, and suddenly you’re knee-deep in the realities of poverty and innocence, and honestly, it kinda sneaks up on you. The way he frames ordinary life, it’s not flashy, but it hits you in the gut anyway. Then he flips the script and you’ve got D Company, which is like, straight-up gritty crime. Guns, swagger, betrayal, the whole shebang. It’s almost as if he wakes up and decides, “Today? Yeah, I’m going full Tarantino.” And people eat it up because it’s raw and messy and real. Now, Oka Pathakam Prakaaram, that’s a wild card. People are hyped for it, mostly ‘cause Vinod doesn’t really put out cookie-cutter stuff. The expectation? It’ll probably mess with your head or at least make you double-take at something you thought you understood. That’s his thing—he doesn’t spoon-feed, and you end up thinking about his movies way after the credits roll. The storytelling? Never straight-laced. It zigzags, throws you off, but you kinda love it for that. Whether he’s tugging at your heartstrings or plunging you into the underbelly of society, Vinod Vijayan keeps it unpredictable, and that’s what makes his filmography a trip worth taking.