After spending over a year in post-production purgatory, Girish AD’s I Am Kaathalan is finally set to release this week. From everything we’ve seen and heard about the film, it seems this won’t carry the usual Girish AD flavour we’ve come to expect. This begs the question: What is the “Girish AD flavour”?
With three films under his belt, what defines a typical Girish AD film? And what are the commonalities we find across these works? Let’s dive deep.
Since his debut in 2019, Girish AD has quietly carved out a unique space in Malayalam cinema. In one of his interviews, Girish mentioned that he’s a huge fan of Selvaraghavan, and the influence is evident. Selvaraghavan’s characters are never perfect; they’re flawed, raw, and often misfits in their worlds.
This influence gave Girish the confidence to create films with protagonists who would typically be sidelined or relegated to comic relief in mainstream cinema. It’s this choice that gives his films a refreshing edge — his leads are not your classic heroes but rather the kinds of characters who rarely find the spotlight.
Flawed Protagonists and Satirical Antagonists
Across his films, Girish AD has cultivated storytelling techniques and motifs that give his work a distinct, authentic charm. One of his trademarks is the understated yet essential love story at the heart of each film.
Typically, these romances revolve around a character experiencing their first real relationship, allowing Girish to explore the unpolished side of young love. It’s messy, clumsy, and filled with those cringeworthy moments that come from acting on intrusive thoughts or making impulsive decisions—things we’ve all experienced in early relationships. This raw, unfiltered approach keeps his protagonists feeling genuine and relatable as they navigate their own awkwardness and insecurities.
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Girish complements this with well-crafted antagonists who add both tension and humour. In Thanneer Mathan Dinangal, Ravi Padmanabhan — a respected, multi-talented teacher with charisma, authority, and a knack for philosophy — feels like he could be a hero in a 90s movie, perhaps played by someone like Jayaram. He sings, recites poems, and has a “unique” viewpoint to offer for every scenario; Ravi exudes a coolness that captivates students.
Although his subject is Malayalam, Ravi commands attention across the board, even intervening in a chemistry class to “save” the student, Keerthi, from being punished. In a classic mass moment, he steps, declares he condones violence against women and children, and then delivers the correct answer, “C6H6,” and earns applause from the students. But only Jaison, the protagonist, sees the absurdity of it all.
This lens of scepticism adds an ironic twist to Ravi’s character, making him appear simultaneously admirable and ridiculous. I mean, when you think of it, if it weren’t for Jaison’s antagonistic view of Ravi, we might never see these layers; this is Girish’s first brilliant attempt at satirizing a figure who seems the epitome of perfection.
Similarly, in Super Sharanya, Girish introduces a spoof of the Arjun Reddy-type character—exaggeratedly macho, intense, and full of bravado – complete even down to the appearance. Dropped into Girish AD’s grounded world, this character doesn’t even need modified dialogue to appear absurd; simply placing him in the realistic, low-stakes context does the job.
Every over-the-top line and “heroic” move becomes unintentionally funny, as his cronies, and even the audience, recognize him as a kind of fraud. Still, Girish gives him depth, though, hinting that his persona is a crafted image, one that’s both feared and respected, perhaps due to his adventurous stories, like a supposed trip to the Himalayas. Even his crew respects the facade he maintains, though the humour lies in how blatantly artificial it is, exposing the ridiculousness of hyper-masculine tropes.
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Then there’s Premalu, where Girish scales back the antagonist figure but retains the subtleties, creating Aadhi—a highly self-conscious character with a saviour complex. This is where we see the power level of Girish at creating a satirical figure who pretends to be the epitome of perfection. Aadhi projects himself as a “feminist,” not out of conviction but because he knows it boosts his image, particularly with women. He’s narcissistic, constantly aware of how he appears to others, and his interactions with Reenu are tinted with ego.
In the traditional Malayalam movie scenario, we might expect Aadhi and Reenu to end up together, especially since Aadhi believes himself to be a “good match.” But his pride prevents him from confessing his feelings; instead, he expects Reenu to come to him. When he finally does propose, it’s less an expression of love and more of a condescending offer, as he says something akin to, “Your name has been linked with mine so often, and I’d like to give you a life”—echoing the tone of certain “janapriya” actors. This narcissistic, almost patronizing approach to love adds complexity to the film, framing Premalu through a lens of humour, satire, and social commentary on male entitlement.
Journey as a Theme
There’s something else Girish consistently does in his films. He ensures that he maintains a sense of movement and exploration, taking his characters on small but meaningful journeys that broaden the story’s scope. In each film, travel — be it for a wedding, a class trip, or a sports meet — introduces visual and narrative shifts that mirror the inner journeys of the protagonists. In Thanneer Mathan Dinangal, Jaison’s world expands as his class ventures to their school trip or for sports meet in a different school and friends’ homes – or even attending a palli perunnal paripadi just for chor and beef, adding a layer of realism to the high school experience.
In Super Sharanya, the college setting offers Sharanya and her friends newfound freedom, with frequent trips between cities for spontaneous outings and weddings. But initially, Sharanya finds solace in escaping to her hometown in Palakkad whenever she feels overwhelmed, as she’s often on edge, craving an escape from college life. It’s during her trips to Ernakulam and Thiruvananthapuram—that she crosses paths with Deepu, sparking the connection that leads to their romance. Her journeys away from Thrissur become as much about self-discovery as they are about unwinding, creating a natural progression to her budding feelings for Deepu and a way for the film to expand its visual and emotional landscape.
With Premalu, Girish pushes the boundaries further as the characters, too, are done with college and eager to explore new avenues of freedom. The story takes us across South India—starting in Salem, then moving to Aluva, Hyderabad, Andhra Pradesh, and back to Chennai, even hinting at possibilities abroad. This journey reflects the growing ambitions of young adulthood, as the characters look beyond their hometowns toward a wider world.
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Just wanted to point out there’s also a recurring motif of faculty weddings. This movement between locales keeps the screen visually dynamic, preventing any single setting from feeling stagnant. By shifting backdrops, Girish keeps the visuals fresh, employing a technique similar to how Anurag Kashyap enhances the scale of his smaller-budget films. These frequent location changes create an illusion of grandeur, adding a sense of scale even to intimate stories.
Side Characters and the Layered World of Girish AD
Another key factor is Girish’s attention to side characters which further brings his films to life. Each secondary character has a unique role, whether providing comic relief, adding quirks, or contributing heartfelt moments. These side characters bring depth and a sense of community, reflecting the messy, evolving nature of friendships. By giving even minor roles dimension, Girish creates a layered world, where side characters are essential, not just background.
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This attention to detail is likely why his side characters often become as memorable — if not more so — than the protagonists themselves. In Thanneer Mathan Dinangal, Naslen’s portrayal of the lovable, spirited Nelvin stood out as a fan favourite, bringing a comedic and heartfelt layer. Similarly, in Super Sharanya, the character of Sona, with her bold and unapologetic antics, was celebrated by the general public. Viewers even felt she was the better “protagonist” of the story, with her personality and quirks leaving a stronger impression. Then there’s Premalu’s Amal Davis, a character who has inspired countless social media posts since the film’s release making Sangeeth a breakout star, solidifying Girish’s talent for creating side characters that resonate and remain iconic.
How Girish AD has managed to make each of these supporting roles distinctive across all three films is a testament to his ability to craft authentic, nuanced personalities, giving each character a sense of individuality that amplifies the charm of his stories.
A Cinematic Growth Spanning Three Films
Looking back, each of Girish AD’s films captures a distinct phase of young adulthood: the high school friendships and rivalries in Thanneer Mathan Dinangal, the experimental, spoof-filled college life in Super Sharanya, and finally, the more grounded, self-aware relationships in Premalu. With each film, Girish has refined his craft, adding layers to his characters and fine-tuning his storytelling to reflect the humour, messiness, and beauty of growing up.
As the press for I Am Kaathalan continually reminds us, this new film won’t be another Premalu. But I have trust in Girish’s conviction as a storyteller, and I’m ready to follow wherever his vision leads. While we’ve mapped out the common tropes in Girish’s films, it’s not these patterns that make his work memorable. What makes Girish AD’s films resonate is how he gives us protagonists who are ordinary, flawed, and fumbling through life—just like the rest of us. By anchoring each film in these universal experiences, he invites us to laugh at our own youthful blunders, one story at a time. And with every film, he shows us with even more clarity just how deeply human and entertaining these stories can be.
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