Master Of The Minimal: The Best Of Fahadh Faasil On JioHotstar
| From the quirky don in Aavesham to the ambiguous thief in Thondimuthalum Driksakshiyum , Neelima Menon compiles a list of Faasil at his nuanced best.
| WITH HIS UNCANNY ABILITY to dissolve into characters, Fahadh Faasil has redefined the contours of acting in contemporary Indian cinema by his layered, unpredictable, and deeply human performances. If you're looking to explore the depth and range of this powerhouse performer, JioHotstar hosts some of his finest work. Here’s a handpicked list of films that showcase Fahadh at his nuanced best. Annayum Rasoolum (2013) In his directorial debut, cinematographer Rajeev Ravi crafts a Romeo-and-Juliet-style romance set against the evocative backdrop of Fort Kochi — a city steeped in art, history, faith, and working-class rhythms. When Muslim taxi driver Rasool (Fahadh Faasil) first sees Anna (Andrea Jeremiah), a quiet Latin Christian salesgirl, during a church festival, it marks the beginning of a slow-burning, one-sided pursuit. He follows her across ferries, loiters near her workplace, and eventually traces her home. On the surface, it echoes the familiar trope of cinematic stalking. But what sets this film apart is the gentle, introspective way in which this pursuit unfolds. | Rasool’s courtship is filled with silent yearning, long stares, and moments of stillness. The narrative skips melodrama and allows the romance to breathe within the everyday textures of life. While Fahadh’s eyes convey volumes of unspoken longing, Andrea Anna's remain enigmatic, her slowly growing feelings shown through nuance and silence rather than words. The film subtly brushes against themes of religion, class, and autonomy. Annayum Rasoolum leaves behind a sadness that lingers, not because of dramatic twists, but because it feels all too real. Iyobinte Pusthakam (2014) Amal Neerad ventures into the realm of period drama for the first time, setting his tale in the misty plantations of mid-20th-century Munnar. While the story revolves around familiar themes of love, betrayal, and redemption, it is elevated by richly layered characters, striking visuals, and a gripping narrative structure. At the heart of the film is Iyob (Lal), a once-loyal worker who seizes control of his British master’s estate after the latter’s death. Having driven away his late boss’s mistress and daughter, Iyob now rules with an iron fist, abetted by his two elder sons — Ivan and Dmitri — both cut from the same ruthless cloth. The exception is his youngest, Aloshy (Faasil), a principled idealist who refuses to be complicit in his family's corruption and cruelty. What follows is a deeply dramatic arc of estrangement, betrayal, and ultimately, moral reckoning. | After surviving an attempt on his life by his brothers, Aloshy is rescued by old allies and slowly rebuilds his life. His return to the fold is not just for vengeance, but to awaken his father’s dormant conscience. The transformation of Iyob from a tyrant to a man forced to confront his decay gives the film its emotional core. Visually, the film is breathtaking. Amal Neerad’s signature style — sumptuous frames, moody palettes, and sweeping landscapes — imbues the film with a tactile richness. But this isn’t a stylised exercise alone; the storytelling remains grounded, with tight writing, complex characters, and a balanced mix of action, drama, and romance. Iyobinte Pusthakam may not be grandiose in scale, but it’s an absorbing period piece that blends spectacle with soul. It stands out as a tale where morality clashes with ambition, and where redemption is earned, not handed out. Aavesham (2024) | When three engineering students, fed up with the relentless ragging by their seniors, hatch a plan to strike back is when they stumble upon Ranga at a grimy little bar. A quirky, Kannada-speaking don draped in gold jewellery, Ray-Bans, and spotless white overalls, at first glance, Ranga seems more like comic relief than a feared gangster. But as the students’ plan begins to take shape, so does Ranga. Backed by his eccentric gang, which is anchored by the steadfast Amban, Ranga (Faasil) slowly transforms from a caricature to a layered character. Beneath the bravado and kitsch lies a lonely man clinging to memories of his mother. When he uncovers the students’ true intentions, his mask slips—and so does the tone of the film. In what is perhaps his most image-defying role yet, Fahadh Faasil brings rare vulnerability and magnetism to Ranga , becoming the beating heart of this madcap revenge comedy. It’s a wild, entertaining ride elevated by Sushin Shyam’s terrific music and an unexpectedly poignant core. Thondimuthalum Driksakshiyum (2017) When a newly married couple boards a bus to a town in North Kerala, their journey is abruptly disrupted by a thief who snatches the bride’s gold chain — and then swallows it. What follows takes them to a local police station, where the accused flatly denies any involvement, even as the bride insists he’s the culprit. What makes this Dileesh Pothan directorial stand out is the way it subverts many tropes traditionally associated with cops and police procedurals. | Once the narrative moves into the confines of a sleepy, overworked local police station, a quiet humour begins to emerge. We’re offered a remarkably grounded and authentic glimpse into a system often reduced to clichés on screen. At the centre of it all is the thief (Faasil), who slowly evolves into a surprisingly poignant character. His silences speak volumes, and in the moments where he is forced into stillness and scrutiny, we begin to see the contours of a life shaped by poverty, mistrust, and resignation. It’s a performance that walks a delicate line between comedy and melancholy, never tipping too far in either direction. Meanwhile, the young couple begins to unravel, their initial crisis giving way to deeper trust issues. With characters that feel lived-in, dialogues that ring true, and a pace that allows the mundane to acquire meaning, Dileesh Pothan crafts a story that’s deceptively simple on the surface but layered with social commentary, emotional depth, and sly humour. A quiet, compelling meditation on justice, doubt, and human fallibility, the film doesn’t shout to make its point — instead, it lingers, much like the people it portrays. Varathan (2018) | When Abin (Faasil) and Priya (Aishwarya Lekshmi) relocate from Dubai to her family estate in a remote Kerala hill town, they hope for a quieter life. But what awaits them is an unnerving atmosphere of constant surveillance and simmering hostility. As local men begin to leer and pry, the couple’s isolation grows palpable. Tension escalates with the arrival of Priya’s former classmates, leading to a shocking act of violence that turns the film on its head. From here, the narrative shifts gears dramatically, as Abin, initially passive and non-confrontational, takes matters into his own hands. His transformation is neither heroic nor flashy — it’s strategic, simmering, and immensely satisfying. Directed by Amal Neerad and written by Suhas-Sharfu, Varathan is a slow-burn invasion thriller that builds dread with atmospheric precision and culminates in a jaw-dropping climax. Fahadh Faasil is exceptional, anchoring the film with a performance that moves from restraint to quiet ferocity. Stylishly mounted and deeply unsettling, Varathan is both a masterclass in tension and a chilling reflection on entitlement and the male gaze. | Like what you read? Get more of what you like. Visit the OTTplay website or download the app to stay up-to-date with news, recommendations and special offers on streaming content. Plus: always get the latest reviews. Sign up for our newsletters. Already a subscriber? Forward this email to a friend, or use the share buttons below. | | | This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead. | | Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over. | | In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an
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