After a year in post-production purgatory, I Am Kathalan, Girish AD’s latest, has finally hit theatres. From the promotional material to the interviews and snippets, it was clear that this wouldn’t be another Premalu, Thanneer Mathan Dinangal, or even Super Sharanya. This film has a different tone, driven by an actual plot, which we’re not used to seeing in Girish’s work. Typically, his films are built around a series of incidents rather than a structured storyline, something he’s openly admitted. With I Am Kathalan, though, we’re seeing him shift gears into thriller territory.
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One thing I’ve always wondered (and I mean it in the nicest way possible) is how Girish manages to get producers on board. In the usual process, filmmakers pitch their story concepts, summarising the plot to hook investors. But with Girish’s films, the plot is almost nonexistent—just a series of amusing happenstances that flow into each other without a tight narrative. So, for him to create a film with a plot and land Naslen’s first outing as the solo hero is interesting. Although this is the third film Naslen has done with Girish, and (I think) the third film with Naslen as the solo lead, I Am Kathalan was shot before Premalu was released, which, I feel makes certain elements feel slightly dated, that doesn’t take away from the film’s enjoyability though.
The film has enough hooks to keep you engaged, provided you go in knowing not to expect the same level of rewatchable humour as Girish’s previous work. His earlier films have a high joke-per-minute ratio, and you can watch them repeatedly, always catching something new. Each viewing feels fresh because it’s more about the individual scenes than the plot. I Am Kathalan, being a thriller, is different. I’m still unsure if it has that re-watchability factor—time will tell. Even so, it’s not a full-on thriller that discards humour or lightness; it still has that touch of Girish’s trademark warmth and wit. Some moments genuinely had me laughing out loud and long, and some of the little touches, like the way general perceptions about hackers were poked fun at, were clever.
One thing that impressed me was how neatly certain details came full circle. There were Chekhov’s gun-style elements introduced early on that reappeared later in a satisfying way. The climax, while perhaps lacking a punch, still felt appropriate—it didn’t try to go bigger than necessary, which worked in its favour. This may be a thriller, but it’s still very much a Girish AD film, where the story flows naturally rather than escalating dramatically. Girish remains a storyteller with a unique voice, and for me, whatever story he chooses to tell, I’m there for it.
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The protagonist here is still very much the typical Girish AD lead: a flawed, below-average guy who happens to have one particular skill. Vishnu, played by Naslen, is good at hacking but struggles in nearly every other aspect of life. His relationship with his family is strained, to the point where they almost avoid addressing him directly. It isn’t until the second half that you even see them interact with him meaningfully. They do treat his friends well though. And his friends do fill this gap, as they’re the ones that provide some essence of consistency in his life.
Anishma, the female lead, brought a strong presence to her role, surprising me given her limited screen time in the trailer. She ended up having quite a pivotal role, and her chemistry with Naslen felt authentic. Another standout was Lijomol, the “ethical hacker,” who added a fresh perspective to what we typically expect from a character in his role. Girish turns the stereotype of a “hacker” on its head here, presenting her as an unassuming, working-from-home mother. It’s a clever nod to the idea that hackers don’t have to look like mysterious hooded figures; they could just as easily be someone you know.
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Overall, did I love this film? I did. Is it the best Girish AD film? No, but it’s still very much worth watching. I’d place it as his third-best, just behind Premalu and Thanneer Mathan Dinangal. Although Super Sharanya arguably has more laugh-out-loud moments, I Am Kathalan holds up better as a cohesive film overall. Dileesh Pothan’s role as the antagonist was a perfect fit. Something I loved is how the revenge escalates primarily due to seemingly petty immature reasons. Vishnu is a character driven by a bruised ego and petty reasons, which escalates into a drama fueled by his insecurities. True to Girish AD’s style, the drama unfolds because of love, ego, and mistakes, rather than some grand villainous scheme.
In the end, I Am Kathalan might not have the lighthearted, high-joke ratio we’ve come to expect, but it’s still unmistakably Girish AD. He’s very clearly tried to expand his style here, trying his hand at something more structured and plot-driven while keeping the essence of his storytelling intact- with the flawed, everyday protagonist, the absurdity woven into real-life situations.
While it may not be the “classic” Girish AD film, it’s clear he’s evolving as a director, and that only makes me more excited for whatever story he chooses to tell next.
