A decade of ‘Pothettan Brilliance’: How Dileesh Pothan shaped Malayalam cinema in last 10 years

When Maheshinte Prathikaram released on 5 February 2016, it immediately sparked a discussion about its place in Malayalam cinema. Few wondered about its box office fate. Its opening weekend impact made it clear that a modern classic was born.

Director Dileesh Pothan quickly became the next big beacon of hope for Malayalam cinema. Critics compared him to KG George for his realistic filmmaking and attention to fine details. Within weeks, the tag ‘Pothettan brilliance’ was coined. “It’s not a title I sought. People gave it to me due to their affection,” Pothan says in an exclusive interview.

He went on to direct Thondimuthalum Driksakshiyum and Joji, both critically acclaimed and commercially successful, just like Mahesntinte Prathikaram. This hat-trick of directorial successes propelled him into film production and eventually acting. Though central to Malyalam cinema today, he admits he is not very comfortable with the attention that comes with it.

“I just focus on quality. As a team, script writer Syam Pushkaran and I do not compromise on anything. I never planned to get into acting or production, but things just happened for me,” he said, laughing off comparisons with star actors in the industry.

Pothan worked as an assistant director on many films before his directorial debut. He’s not one of those people who got to the director’s chair after doing a few short films.

“I had to grind my way through. My parents and relatives were concerned about my future, but I always assured them. I had worked in Bengaluru before and quit that to join the movie industry,” he said. “I did not mind the struggles because I knew I was in an industry that I wanted to be a part of.”

Eventually, though, he felt creatively stuck and pursued a master's in Theatre Arts at Sree Sankaracharya University, Kalady, Kerala. The stint transformed him, says screenwriter Pushkaran.

“Yes. I came back with fresh energy and ideas. By 2009-10, I started getting offers from producers to direct a feature film. But I decided to wait. I didn’t want to rush things and do a film that I did not believe in,” Pothan recalled.

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That wait ended in 2016. Malayalam cinema was already on a great run when Maheshinte Prathikaram came in and took it up by another notch. The movie won the National Award for Best Feature in Malayalam. Pothan's craft stood out: every prop conveyed meaning, no shot was wasted, every pause mattered.

Malayalam cinema in the last 25 years has already moved away from melodrama, but Pothan shaved off even the remnants. “I like a natural flow of things in a movie. Why force it? Even on the days of the shoot, we improvise. If something isn’t needed, we chop. Syam too is a ‘visual’ writer. He writes lines only for visual purposes. The dialogues are only an offshoot of natural emotions for us.”

As a person, Pothan is grounded, and that reflects in his filmmaking. Detailed and immersive storytelling set in an original environment is essential in theory, and with Pothan, it consistently succeeds in execution as well.

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The characters in his movies may be ordinary, but the scenes are anything but ordinary. The scenes are layered, often on purpose. With Pothan, a scene could have a different interpretation depending on whose character arc you are viewing the story from. Depth is non-negotiable.

For Thondimuthalum Driksakshiyum, which is about a small-town thief, Pothan spent weeks studying police stations and procedures. The authenticity won another National Award.

Having Fahad Faazil as the lead actor elevated his films further. “Fahad is an amazing actor. Sometimes, he takes the scenes even beyond what we conceptualise. There’s a scene in Maheshinte Prathikaram where he’s supposed to break down after he comes to know of his fiancée’s wedding. I told him to cry subtly. But he said he felt like crying without inhibition and proceeded to do that. After we canned the shot, we knew his interpretation of the scene was the right one. There are many such instances. That’s why teamwork is very important for me. Every department has to work in coordination for a great outcome. Sound, editing, cinematography and all other departments have to find a common voice.”

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While uncompromising on story standards, Pothan gives actors freedom. "No scene is cast in stone. The most important component is the outcome. Everything else can wait. We innovate wherever possible to elevate a scene. The Malayalam movie industry is small-scale compared to others. So, our innovation is not on budgets. Of course, we compete with big-budget movies in our own way. But our strength is content.”

His production house, Working Class Hero, co-founded with Pushkaran, has produced Kumbalangi Nights (2019), Joji (2021), Thankam (2023) and Premalu (2024). It often collaborates with Bhavana Studios, founded by Pothan, Puskharan and Fahadh Faazil. “Our plan is not just to make movies that are entertaining but also have high quality,” he says.

Pothan has also impressed as an actor in Malayalam cinema. His roles in O.Baby, Bheeshma Parvam, Rifle Club and Ronth have impressed many.

“My acting stint has surprised many, and I would say even myself. I started with minor roles, but now there are offers for central characters. However, I plan to return to direction this year. If all goes well and as planned, my new directorial venture will release this year.”

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(The writer, Darlington Jose Hector, is a freelance journalist.)