TIFF 2021: Paka (River of Blood)
Studio 99 FilmsPaka (River of Blood) tells the story of two feuding families in the Wayanad village of North Kerala that use the local river, filled with more blood than water, as a graveyard for their acts of revenge. Each time another person disappears, the family sits at the river’s edge as Jose (Jose Assariyot), an expert diver turned coroner with an eccentric mustache, searches the murky waters for their loved ones. The rivalry is generational, rooted in tribalism and migration, warring tribes unable to abandon their pride but have been dormant. Forbidden lovers Johnny (Basil Paulose) and Anna (Vinitha Koshy), each belonging to the feuding families, use this time of relative peace to prepare a secret wedding. But the blood rushes in once more when Johnny’s uncle Kocheppu (Jose Kizhakkan) is released from prison.
In his feature debut, Nithin Lukose takes the well-known Romeo and Juliet tale and twists it to fit the myths, stories, and cultural norms of rural Kerala as told to Lukose by his grandmother. Paka is reminiscent of the oral tradition of Kerala and is presented entirely in the Malayalam language. The tribalism and familial pride that recurs throughout Paka is a callback to the stories of Lukose’s youth. This is especially shown through the almost supernatural and menacing off-screen voice of Johnny’s grandmother. She perpetuates the hatred between the two families, even going so far as to praise the murderers for another kill. Paka depicts this never-ending cycle of vengeance that is able to resonate with all, because blood is thicker than water. The ensemble cast of Paka brings authenticity to the film as many of the actors are villagers, and much of the crew are from Lukose’s alma mater film school. This brings truly raw independent filmmaking to Paka and better shows the cultural traditions of Kerala.
Paka explores the human capability of being simultaneously loving and cruel. Forgiveness is never an option for the opposing families: the deep-seated tragedy that triggers the intergenerational feud is too much to be forgotten. Johnny and Anna hope that the love between them can finally heal the divide and overcome the hatred, but this perspective shifts with the return of Johnny’s uncle Kocheppu. After spending years in prison for murder, Kocheppu returns still seemingly aggressive and hateful but, with time, reveals his vulnerabilities and shows he has atoned for his sin. But Anna’s family does not accept Kocheppu’s repentance. Kocheppu’s subsequent disappearance puts a strain on Johnny and Anna’s relationship, with Johnny beginning to follow in Kocheppu’s footsteps. While Johnny takes this journey, Anna, unfortunately, is not given much to do except react passively, which is a shame since her family are the antagonists. It could have been interesting for her to make a similar journey to one of her uncles, continuing the familial feud.
Previously working as a sound designer, one of the most impressive elements of Lukose’s Paka is the richly layered sound throughout the film. Paka often features an impressive use of radio broadcasts that are relevant to the film’s narrative. A standout is the sounds of an unseen pro-wrestling match featuring the shocked commentary of commentator Michael Cole as he marvels at the return of WWE’s The Undertaker. The Undertaker is WWE’s most mythological character, and his use in Paka ties well into the mythology of Paka and is a nod to the respect Indians have for professional wrestling. The Undertaker largely sets out to bury his enemies and is meant to represent Kocheppu as he also shows no mercy for his enemies. The match depicted also mentions Kane, who in WWE storylines was The Undertaker’s brother who together formed a tag team called The Brothers of Destruction. This also represents that the thirst for vengeance is shared by the entirety of Johnny and Anna’s families.
Paka (River of Blood) is rich with themes of generational pride and revenge. The film uses the rich mythology of Kerala and even professional wrestling to translate its message of unnerving revenge, questioning whether it is possible to ever break the cycle of violence. Forgiveness and second chances are never on the table, as the feud runs as bloody as the river.