ItРІР‚в„ўs not every day that you see a cinematographer accomplish that. He has such a good grasp of the material and knows exactly what kind of mood is demanded of a particular scene. Shyju Khalid, who shot Ee Ma Yau, is also the cinematographer of this one. There is a natural progression in their story arcs.

Never once does his charactersРІР‚в„ў reactions to their situations seem artificial. It doesnРІР‚в„ўt preach it simply shows.Р”Р„s someone for whom subtlety has always been a strong suit, Syam doesnРІР‚в„ўt use his characters as mouthpieces for currently trending РІР‚ВwokeРІР‚в„ў topics.

Unlike some of the recent Malayalam films, Kumbalangi Nights is not being liberal just for the sake for it - it doesnРІР‚в„ўt shove its progressive ideas down our throats. And SoubinРІР‚в„ўs character - well, why donРІР‚в„ўt you find out yourself? At one point, Sreenath BhasiРІР‚в„ўs character brings home an African-American girl. Though open-minded when it comes to love and sex, their regressive surroundings stand in the way. Bobby falls in love with a Hindu girl Babymol (Anna Ben in an impressive debut) who happens to be the younger sister of ShammiРІР‚в„ўs wife. Its characters - minus Shammi - have a liberal outlook. Though the film is set in a small fishing village called Kumbalangi, its ideas are contemporary and universal. TheyРІР‚в„ўre not making any progress theyРІР‚в„ўre first-class slackers. In their small box-like home, they have their own invisible boxes in which they have cocooned themselves. They sometimes accuse each other of showing off, and occasionally get into violent scuffles. And on the other side, we have Shaji and his three brothers who have their own skewed view of masculinity. But he is also extremely narrow-minded and, well, a complete psycho. On one side, there is the antagonistic Shammi, who is blessed with good looks and a wife. Each male character sees himself as the hero of his own story.

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