Dinjith Ayyathan Delves into Bold Storytelling in Eko

Filmmaker Dinjith Ayyathan has captured the attention of audiences once again with his latest project, Eko, which follows the success of his previous film, Kishkindha Kaandam. This new work, released in 2023, has received enthusiastic reviews, with many viewers returning to cinemas for repeat viewings. The film continues Ayyathan’s collaboration with writer-cinematographer Bahul Ramesh and marks the conclusion of Bahul’s ‘Animal Trilogy’.

In an engaging discussion, Ayyathan reflected on the evolution of Eko from script to screen, revealing insights into its unique narrative and the creative challenges faced during production. The film explores themes of memory, power, and human behavior through a striking lens, where dogs play a central role in shaping the narrative.

Creative Process and Title Selection

When asked about the film’s title, Ayyathan explained the thought process behind it. Initially, the team struggled to find a suitable title in Malayalam, prompting them to consider English alternatives. After researching the word “Eko,” which conveys meanings such as strength and echo, they decided it reflected both local relevance and international appeal. The title resonated with the production team and was finalized swiftly.

Reflecting on the timeline of the project, Ayyathan revealed that Eko was in consideration even before Kishkindha Kaandam. Initially hesitant to rush the script, the team wanted clarity in their vision. After the positive reception of their prior film, they felt more confident moving forward.

Casting was another significant consideration. Ayyathan noted that Sandeep Pradeep emerged as the ideal candidate for the lead role of Piyoos after they revisited the script. His previous performances had caught Ayyathan’s attention, and the team felt he embodied the character perfectly.

Visual and Thematic Elements

The film’s aesthetic was heavily influenced by the creative input of art director Sajeesh Thamarassery. Ayyathan expressed admiration for how the set design exceeded his initial expectations, particularly with the construction of the fictional hill house in Idukki. The location, now referred to as Mlaathimala, featured a landscape that the art team meticulously crafted, reinforcing the film’s immersive atmosphere.

Ayyathan also highlighted the film’s engagement with gender politics, a recurring theme in Bahul’s writing. He noted that even subtle dialogues resonate profoundly with audiences, sparking meaningful discussions about “restriction” and “protection.” The film’s layered narrative allows viewers to engage with these themes organically.

The dogs featured in Eko were trained to evoke a sense of tension and fear, challenging the typical portrayal of animals in cinema. Ayyathan explained that they sought specific breeds to maintain continuity throughout the film. The training process was rigorous, with the dogs conditioned to exhibit aggressive behaviors during crucial scenes.

As for the characters, Ayyathan portrayed Kuriachan not as a mere villain but as a complex figure shaped by love and desperation. His actions, driven by a sense of loss, add depth to the narrative’s exploration of morality and human instincts. The casting of Saurabh Sachdev was intentional; Ayyathan aimed for an actor unfamiliar to local audiences to avoid preconceived notions.

Biana Momin’s performance as Mlaathi chedathi also garnered praise, showcasing her natural talent despite being a newcomer. Ayyathan emphasized the importance of her training and commitment throughout the filming process, contributing significantly to the film’s overall impact.

In each aspect of Eko, from its title to character development, Ayyathan and his team have pushed boundaries, creating a film that resonates on multiple levels. The journey from script to screen reflects their artistic convictions, ultimately crafting a narrative that is both compelling and thought-provoking.